The I Love Lucy Show on CBS Television ... In the beginning -- David Levi Celebrity Entertainment News Network

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Subject: The I Love Lucy Show on CBS Television ... In the beginning

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David Harrison Levi
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Date Posted: 17:06:22 04/23/07 Mon
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Dann Cahn recalls
getting Lucy’s first show
on the air 45 years ago

In a time when new television programs seem to come and go in a matter of weeks, it’s a little mind-boggling to realize that I Love Lucy has been with us now for 45 years!

Yes, the program celebrated its 45th anniversary on October 15, 1996. The truth of the matter is TV (and radio before it) has always been a rather volatile medium driven by the maxim that no one ever really knows what the public will like. Lucille Ball knew what a "crap shoot" starting a television series could be -- and was eternally grateful that the American public fell in love with her show almost from the very beginning.

Getting any show up and running can be a logistics nightmare for the people in charge, and I Love Lucy was no exception. "The team" in those days consisted primarily of Jess Oppenheimer, Bob Carroll Jr., and Madelyn Pugh, the creative trio who had written Lucy’s radio program, My Favorite Husband, and who had also conceived the premise for the TV show. Oppenheimer, who had served as producer-director of the radio project, would serve as producer of I Love Lucy as well.

Assembling a staff was Oppenheimer’s first chore that summer. Al Simon, who had been working with Ralph Edwards’ production company, signed on to serve as Desilu’s production manager; Karl Freund, an award-winning cinematographer Lucy knew from her MGM days, was persuaded to try his hand at television; and Marc Daniels, a noted director of "live TV" dramas in New York, agreed to direct.

To edit the show, Daniels suggested a man named Alan Jaggs, who unfortunately did not have the 8 years "apprentice" experience then-required by the editors’ union. Oppenheimer then asked a creative young man named Bill Asher, who himself was trying to get yet another TV project off the ground. Asher declined, but suggested a friend of his, Dann Cahn -- who at that moment just happened to be finishing a movie assignment. Cahn said he could be available after Labor Day. Cahn it was.

(Jess never forgot Bill Asher -- a year later, when Marc Daniels decided to move on to another assignment, Bill was brought in to replace him.)

Real estate was another problem. Lucy’s rather crude pilot or audition film had been produced the previous March in a converted radio studio at CBS’ Columbia Square facility. For the actual series, Desilu would need its own dedicated space. Unfortunately, most of the big motion picture studios at that time considered television a major competitor, and refused to rent a soundstage to a fledgling -- but promising -- video operation.

Finally Desilu found adequate room on a small Hollywood movie lot called General Service Studios. They knocked out a wall, laid a new floor, added bleachers for the audience, and began building sets for the first Ricardo apartment. Space was so tight that they decided the Ricardo bedroom would "double" (with different furnishings) for the Mertz living room.

Production began Saturday, September 8, on "Lucy Thinks Ricky is Trying to Murder Her." The cast attempted to film the show "straight through" like a Broadway play, with few breaks between scenes. Because Lucy was featured throughout, she layered her costumes for the first few scenes, then played the last scene with a raincoat over everything else. The company quickly realized this would never work for the full series, and beginning with show number two, they allowed for costume changes between scenes.

That second episode, "The Girls Want to Go to a Nightclub," in which Lucy and Ethel dress up as hillbillies to fool their husbands, proved so much more entertaining that Philip Morris and CBS decided to air that one first. Everyone was thrilled with putting their "best foot forward" -- everyone except Dann Cahn and his assistant Bud Molin whose job it was to edit the scenes and give a show its timing, pacing, and overall "patina." For them, the switch was a potential disaster. It meant they had even less time than they had thought to get the premiere show "on the air."

Dann, then his mid-twenties, was the closest thing Desilu had to "an old pro" as far as "filmed TV" was concerned -- he had helped to edit one of the medium’s first film anthologies for 6 months back in 1949. Molin had been a friend of Dann’s since both had "served time" in the editing room at the low-budget Republic Studios in the late 1940s. Working fast and for long hours was nothing new to either man -- but this last minute switch was a real challenge.

Dann recently recalled, "Bud Molin and I were putting in 14-hour days and it was obvious by the time we started editing that second episode (to air first) that we needed help. We got a young eager apprentice from USC film school by the name of Gary Freund (not related to Karl).

"We had a nice old timer, Hal Hodge, based across the street at Consolidated Film Labs, to cut the negative. We still needed someone to smooth out the laugh tracks after editing and put in a few sound effects and cut the music. Al Simon, the production manager, thought that because we had "the Monster" (the 4-headed Moviola), Bud and I should have time to do it all ourselves. I said, ‘It’s impossible!’ on the schedule we were operating on. At a meeting with Simon, Jess Oppenheimer and Desi Arnaz, Desi made a crack, ‘Danny, you want to have a cutting room staff as big as my band!’ A year later we did.

"Jess had been spending more time with me in the cutting room than the others and could see that Bud Molin and I needed help."

Dann enlisted the aid of another old friend from his movie days, Quinn Martin, who was busy editing the voice of "Francis, the Talking Mule" for a Donald O’ Connor picture at Universal. Quinn was reluctant to give up a "sure thing" movie assignment for a TV gig that could end after a couple of months. "I twisted his arm (ear) on the phone," Dann recalls today, and Quinn came in for an interview. He not only agreed to join the Desilu staff as a music and sound effects editor -- he stayed with the new company nearly ten years and became one of its most successful producers.

But that was all down the road. In 1951, Quinn and Bud and Dann set their sights on getting I Love Lucy on the air. As Cahn recalls, "The I.A.T.S.E. contract in those days was for a six-day work week. Bud and I added a seventh day to our endeavor and got that second show, which was shot on Saturday, September 15th, ready for the premiere in less than four weeks. (Editing, music, sound effects, optical camera work and titles, dubbing, negative cutting and answer print.) We got two 35mm prints out of Consolidated Film Laboratories on Friday, October 12th. One for the West Coast and one for New York and the East Coast. No jet planes in those days. The New York print made it with just hours to spare. We also ordered 16mm backup and delayed-broadcast prints.

"On Monday, October 15th, I Love Lucy was scheduled to debut on CBS. Emily Daniels, who was the camera coordinator as well as the wife of Marc Daniels the director, had invited me to their home to see the premiere and have a late dinner. After a full day’s work, I drove to the Daniels’ home deep in Laurel Canyon. Crowded around the TV were Lucy, Desi, Vivian Vance with her then-husband Phil Ober, the writers Madelyn Pugh and Bob Carroll Jr., the head writer/producer Jess Oppenheimer and his wife Estelle.

"Talk about unsophisticated television transmissions. The 16mm backup print ran in sync with the 35mm broadcast print in case something happened to the broadcast print in transmission. Somehow the sound on the Los Angeles backup print got turned on during the broadcast of the premiere. It was running three or four sprockets ahead or behind the 35mm picture transmission. With both sound tracks going at one point, on ahead of the other, the dialog sounded like it was being transmitted from a pair of speakers on a football field.

"When the sound went out during the show and then the sound doubled up, I thought Desi was going to have apoplexy. We all had a lot riding on this and Desi had risked a lot to have the show made on film. Now he might have been wrong. He looked at me. I looked back. What did I know? The answer print had been fine.

"On Tuesday, October 16, 1951, the Daily Variety in an otherwise fair review noted, and I quote, ‘I Love Lucy...suffered two annoying fluffs, once the sound was completely lost and later, as if to make up for it there were two voices talking at the same time...’ It was a shaky kick off!

"On Wednesday, October 17th, Weekly Variety came out. The technical goofs were not mentioned because they only involved the Los Angeles broadcast. The New York transmission must have gone well because it was a glowing review. It started out --

‘CBS and Philip Morris fell heir Monday night to one of the slickest TV entertainment shows to date. Its the new Lucille Ball-Desi Arnaz I Love Lucy situation comedy, which the cigarette company has installed in the Monday Night at 9 period. It’s costing PM $30,000 a week (exclusive of time) for the half hour film series. (Without even enjoying benefits of residual rights, which revert back to the packagers), but on the basis of this weeks preem installment, it should sell lots of cigarettes. ...it’s a slick blending of Hollywood and TV showmanship, for which much credit belongs to Karl Freund masterminding on the camera and Marc Daniels on the direction. Lucy is a hang-over of sorts from the ex-CBS radio series, My Favorite Husband, with Jess Oppenheimer again heading up the writing brigade (along with Madelyn Pugh and Bob Carroll Jr.) with Oppenheimer also producing and turning in a top quality job on both to match Daniel’s directorial skill.’"

It was an auspicious start for this rather unusual new television venture. For Lucy and Desi, it meant maybe the gamble on television had not been so foolish after all. For Dann Cahn, it was, as he put it, the start of "the most exciting and successful decade of my life."

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In the Beginning:

A Different Beginning!

When I Love Lucy originally aired on CBS (10/15/51-6/24/57), the opening titles were much different than the satin-heart-with-script-writing that we have seen for years on the reruns. The original presentations were introduced by little Lucy and Ricky animated stick figures; the title was printed within a heart, but the lettering was in a free-hand block style. (The figures appeared again at the end of Act I in short animated sequences that led into and out of the mid-break commercial.)

Why were these elaborate animated productions eliminated? Because the stick figures normally popped out of a sponsor’s product -- a pack of cigarettes, a can of shortening, etc. In those days one or two sponsors normally picked up the entire tab for a series. Once the show went into reruns, it had multiple sponsors (as most all programs do today), making the animated openings obsolete. (The script-heart version, as a matter of fact, was created as early as 1951 when the show was first offered for sale to Canadian stations -- which booked their own sponsors.)

The first animated openings were produced by Dudley Television Corp. to the specifications of the Milton Biow Advertising Agency on behalf of Philip Morris cigarettes. It was then Dann Cahn’s job to integrate the sequences into the weekly shows, as filmed by Desilu. Dann wrote about the task in the November, 1995, issue of Cinemeditor magazine, which has graciously allowed us to reprint the article in full:

The Animated Opening of
I LOVE LUCY
by Dann Cahn, A.C.E.
The animated opening to each episode of I Love Lucy presented a genuine challenge to the editorial department. Every week we had to prepare a different integrated billboard to introduce the show. In the illustrations above, the animated stick figures of Lucy and Desi were on a scaffold. An alternate billboard had them putting up a marquee and, in still another, they were working searchlights.

In the above opening, Johnny, the bellhop, begins the process with his "Call for Philip Morris!" Then the stick figures descend on the scaffold and "I Love Lucy" is revealed, followed by the two figures rolling up the cigarette pack to reveal the opening scene of the episode.

Today, this type of opening would be easily generated as computer effects, but in 1951, all of this had to be assembled each week on an optical printer using fine-grain masters. It was slow and complicated. The schedule dictated that each week the optical would have to be composited on a Saturday to make the air dates.

Originally, Larry Glickman, head of Pacific Title, was hired by Al Simon to do the optical printing and title work, but Larry felt the job didn't justify working Saturdays. Darrell and Howard Anderson had an optical printer set up at the General Service Studios where we were filming, so I laid out my schedule for them. Saturdays were not a problem. They got the job and they did it well. When Desilu started a second series, Our Miss Brooks, we gave them that job also. Thus began a long partnership between the Howard Anderson Company and Desilu. As the Desilu empire grew, so did the Howard Anderson Company -- and the association continued through the legendary Star Trek series.

--------------------------------------------------------------------------------

Originally published in the November, 1995, issue of Cinemeditor. Used by permission of Dann Cahn, A.C.E., and American Cinema Editors, Inc.

Photos included in this article were made from original videos through the courtesy of Rob Vale of Videostill.
By KARL FREUND, ASC
Despite the 43 years I've devoted to cinematography, I must admit that I was scarcely prepared for the many problems which were to confront me upon my initial excursion into the realm of television with the "I Love Lucy" show. Fortunately, this motion picture experience helped to cushion many of the serious problems and aided me in adapting myself to this new medium.

Today, many of the initial difficulties we've experienced have, to some extent, been solved, but we still remain in the infancy of a fascinating new entertainment medium. There are formidable problems ahead, all of which will be conquered in due time. As for myself, I have enormously enjoyed being a part of the team which has already overcome some of the preliminary hurdles.

The Lucille Ball-Desi Arnaz show was a challenge from the start. It was decided that, for the firs time, TV cameras would be replaced with three motion picture cameras to allow more flexibility in editing and to improve the photographic quality over kinescope recording.

This, I felt, was a legitimate approach to the situation. I expected very little variation from the ritual of photographing regular motion pictures -- but I had not taken into consideration the unique problems involved. I was soon to be faced with them.

First of all, a live show requires an audience. This necessitated a regular studio sound stage equipped with bleachers to hold some 300 people. Above the stage a series of directional microphones and loud speakers had to be installed.

To give the audience a clear view of the program, and to allow the cameras total mobility without interference from floor cables, the lights for the sets had to be placed above the stage.

It became obvious almost at once that the overhead light placement was hardly flattering to the photographing of the performers. While the print value seemed up to par when projected in a studio projection room, they showed too much contrast when viewed over a closed TV circuit. Thus, we were faced with the fact that the greatest difference between standard motion pictures technique and TV films is the subject lighting contrast, which is required.

The immediate question was what method we should use to obtain the desired compression in the positive print. The solution was fairly simple.

After careful survey, we selected a method that would involve no departure from standard practice in processing laboratory operations. That is, in exposing the original negative, use a subject lighting contrast considerable lower than that normally used for conventional black and white motion picture photography and process both the negative and print in the normal way.

It requires four days to line up each weekly show of "I Love Lucy" and "Our Miss Brooks." Two of these days are for rehearsals. At the end of the second day the cameraman sees a run-through during which he can make notes and sketches of positions to be covered by the cameras and instructs the electrical crew as to where lights are to be placed. The last two days are occupied by rehearsals with cameras.

Since a show with audience participation must go on at a specified time, this schedule must be religiously adhered to by everyone concerned, including the cast. An hour and a half is the actual shooting time.

To film each show we use three BNC Mitchell cameras with T-stop calibrated lenses on dollies. The middle camera usually covers the long shot using 28mm. to 50mm. lenses. The two close-up cameras, 75 to 90 degrees apart from the center camera, are equipped with 3" to 4" lenses, depending on the requirements for coverage.

The only floor lights used are mounted on the bottom of each camera dolly and above each lens. They are controlled by dimmers.

There is a crew of four men to each camera: the cameraman, his assistant, a "grip" and a "cable man." Unlike TV, where one man generally handles the camera movements and views the results immediately, this technique requires absolute coordination between members of the crew.

Every movement of each dolly is marked on the floor for every scene. And since all the movements of the camera are cued from the monitor box, the entire crew works from an intercom system.

As for myself, I utilize a two-circuit intercom. This allows me to talk separately to the monitor booth and the camera crew on one; the electricians handling the dimmers and the switchboard on the other.

Retakes, a standard procedure on the Hollywood scene, are not desirable in making TV films with audience participation. Dubbed-in laughs are artificial and, consequently, used only in emergencies. Close-ups, another routine step in standard film-making, were discarded since such glamour treatment stood out like a sore thumb.

The public acceptance of "I Love Lucy" and "Our Miss Brooks" has been a source of great inspiration for me. The challenge has been a real one -- one I have found both stimulating and exciting.

We still have some way to go before TV viewers will have the opportunity of seeing films with the quality which can be favorably compared with those to which we have been accustomed in our theatres.

As I watch television films on my own set I am continually aware that I do not have a complete control of the end results. For there is an engineer in every television station control booth who can change the screen image according to his instructions and depending upon the condition of his equipment. And there are the TV viewers who are their own "engineers."

I believe that the time is not too distant when the only engineers will be the technicians who actually create the film that is transmitted. Only when that day arrives will we really have film quality comparable to motion picture standards as we know them today.

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The following article is reprinted from the January, 1952 issue of American Cinematographer Magazine. It is interesting to note that even a few weeks into production, "I Love Lucy" was recognized as setting new standards for television production.

The article is a little technical, but we think you will enjoy it!

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General view of tri-set layout on Stage 2 of General Service Studio where the weekly "I Love Lucy" film show is produced. All lighting is from overhead, with units so mounted they can be changed with a minimum of time and effort. The show is photographed with three Mitchell 35mm BNC cameras, all shooting simultaneously. Camera (1) in center makes all the long shots, while closeups are filmed by cmmeras (2) and (3) at either side. Besides floor markets and memorized instructions, technical staff also is monitored by script girl via intercom phone system as show progresses. Retakes are rare and time between setups averages but a minute and a half.

Filming the 'I Love Lucy' Show

Weekly CBS-TV comedy show filmed in Hollywood
sets pace for top-quality television

If there is a revolution imminent in the production methods of motion picture making in Hollywood, it probably is taking place these days on Stage 2 of General Service Studios, where Desilu Productions, Inc. is turning out 22 minutes of TV program film in 60 minutes of actual shooting time.

Major film producers could take a lesson from this company which, like other makers of television films, was in the beginning faced with the problem of how to make films economically and at the same time successfully entertaining for the new medium. That Desilu is succeeding in this is evident in the fact that the company is operating at a profit, and that its product, the I Love Lucy television show, is rapidly climbing toward the No. 1 spot in the national polls; at this writing the show is No. 4 in the ratings.

From the point of view of picture quality, technical men rate the show as one of the best of all filmed TV shows. Credit for this is due to Karl Freund, A.S.C., who is directing the photography.

With the steady rise in popularity of the show, the photographic methods employed by Freund and his camera crews are creating widespread interest among producers of motion pictures -- both major and television. Production executives from nearly every Hollywood studio have "scouted" the show during filming and have lauded Freund for his achievements.

Visiting the sound stage during a rehearsal or an actual filming of a I Love Lucy show, one is impressed by the methods and by the orderly manner in which production proceeds. There are none of the interminable delays which mark the production of films in the major studios. Delays could not be tolerated because the show must proceed much the same as an actual live show telecast, inasmuch as there is an audience also present on the stage. This audience is an important adjunct to the show and its audible reaction as the show unfolds is recorded simultaneously with the dialogue and becomes an integral part of the production.

The action in each weekly episode of I Love Lucy takes place on three basic sets erected more or less permanently on Stage 2. The sets, which represent the apartment of Ricky Ricardos (Desi Arnaz and Lucille Ball), consist of kitchen. living room, and a third room which is dressed as required. The sets adjoin one another and are, in fact "intercommunicating," so that action, such as a player entering the living room from the kitchen door, becomes a natural thing; and when the continuity of such action is to be picked up by the cameras, they are merely moved before the adjoining set and filming is resumed in a matter of seconds, as will be described later in more detail. Beyond this three-set arrangement is still another set representing the nightclub where Ricky Ricardo is employed as entertainer. Here the orchestra is assembled for every show, whether or not it is to be used in the picture filmed that evening.

The show goes before the motion picture cameras in much the same way it would as a live show in a television studio. Indeed, as Karl Freund points out, the almost continuous camera-on-dolly technique employed is adapted from standard TV camera operations for live shows.

The show is photographed on 35mm film with three Mitchell BNC cameras mounted on dollies, as shown in the photos. All three cameras shoot the action simultaneously. The camera in the center makes all the long shots with a 40mm wide-angle lens. The cameras at either side record the action in close-ups, using 3-inch and 4-inch lenses. In the beginning, the company used a cue-track method, which permitted remote control operation of the cameras individually for long shot, medium shot, and close-up, as the script demanded. This system was soon abandoned, however, in favor of regular film production methods, with the tacks from the three cameras edited on the Moviola, etc. The result is greater speed in the photography of scenes and better results in the final editing.

Cueing of camera operators, grips operating the dollies, and of the gaffer handling the light dimmers is still a major function in the production of the weekly films. When the show is being photographed, the script girl in a booth overlooking the stage is in direct contact with the key technicians at all times via two-way intercom phones. Although each man previously is briefed on the operation and in many cases has floor marks to guide him, the script girl insures against any possibility of error by her timely cues. Impressive is the speed with which the crews move on to the next setup and start shooting again. A special check made of this operation showed that elapsed time between camera setups averaged a minute-and-a-half.

A major factor making such speed possible is the lighting arrangement worked out for the production. Since invariably the players are in action over almost the entire set, the light intensity must be uniform over the entire area at all times. There are no light changes, other than those made by dimming. All set illumination, therefore, is from overhead. there are no floor lamps and the only illumination from a lower level comes from the portable fill lights, which are mounted just above the matt box on each camera. The set lamps are rigged on catwalks, which are suspended above the sets. The light units consist of Seniors and converted Pans with spun glass diffusers added. the overhead lighting scheme keeps power cables off the floor and makes feasible the unobstructed operation of camera dollies as well as quick movement of camera equipment to the subsequent setups.

"To light a set for three cameras operating simultaneously and from different positions is a problem in itself," Freund said. "We have to light as uniform as possible, yet watch for opportunities to add highlights whenever we can. This is highly important, inasmuch as it is a comedy show requiring high-key illumination."

"Contrast also has to be watched carefully, since the tube in the film image pickup system of the television station is quite contrasty. Any contrast in the film therefore is compounded if not exaggerated in each step of the transmission of the picture. This makes it necessary to keep the contrast in the original negative down to what we call a 'fine medium.'"

This knowledge of the contrast secret is further revealed in the décor of the sets. These are painted in various shades of grey. props likewise follow the ethical demands of correct contrast, as do the wardrobes of the players. Even newspapers, when they are to appear in a scene, have to be tinted grey. Such overall uniformity of colors or tones in the scenes make rigid demands on the lighting and has resulted in the careful illumination formula which Freund and his gaffers now regular employ in lighting the sets.

Although each weekly show goes before the cameras at 8 o'clock Friday evenings, and is photographed entirely the same evening, the preceding four days are employed by the company in rehearsals, pre-production planning and script revision. the camera crews have but two schedules in the five-day period -- on Thursday and Friday.

The director, actors and writers gather on the stage for a reading of the script on Monday and Tuesday; late Tuesday afternoon the first of the rehearsals are held. By Wednesday afternoon, the company is ready to run through the show for Freund. This usually takes place at 4:30. No cameras are on the set at this time, nor are any members of the camera crews present. During this rehearsal, Freund studies the players I their movements about the sets, takes note of how and where they enter and exit, and plans his camera operations and lighting accordingly.

The following morning at eight o'clock Freund and his electrical crew begin the task of lighting the sets, and endeavor to have the job completed by noon. At this time, the camera crew members come on the set and are briefed on camera movements, etc. With the crews and cameras assembled on the stage, camera action is rehearsed. This enables Freund to make any necessary changes in the lighting or operation of the camera dollies. Cues for the dimmer operator are worked out at this time. Chalk marks are placed on the floor indicating the positions the cameras are to take for the various shots or the range of the dolly action for a given scene.

At 4:30PM Thursday, there is another rehearsal -- this time with the camera crews, gaffers, sound men, etc., on hand. Then at 7:30 the same evening a dress rehearsal is held, Freund, camera operators, gaffers and grips are on hand -- but the cameras are not brought onto the floor. At this time the general plan of the show is discussed by the director. Notes are made for future guidance by all present. An open discussion then follows at which time lines of dialogue are cut, action shortened or deleted, camera movements analyzed -- in short, everything is done at this time that will tighten up the show and improve its pace. This is the period in pre-production planning when problems are aired and suggestions made and considered.

On Friday, when the show is scheduled to be shot, there is a 1 PM call for everyone in the company -- players, technicians, the producer and the director and his staff. If any major changes in the action, dialogue or camera treatment were decided in the previous evening's discussions, these are now worked into the show during another general rehearsal.

A final dress rehearsal takes place at 4:30 PM, with the cameras now on the floor. Freund gives his lighting a final check, makes any necessary last minute changes before the company breaks for dinner.

After dinner, company and cast return to the stage, and there follows a general "talk through" of the show. At this time, further suggestions are considered and decisions made on any remaining problems, so that by 8 o'clock the company is ready to film the show.

In the meantime, the audience seating on the stage has rapidly filled and Desi Arnaz or some other member of the company is briefing the audience on the show, explaining the filming procedure, and emphasizing the importance its natural, spontaneous reaction plays in the show's success.

Then for approximately sixty minutes the show is filmed. As soon as action is completed for one set up, the cameras, crew and players move rapidly to the next set up, and the action is resumed. All scenes are shot in chronological order.

As is to be expected, where a production receives such meticulous planning and thorough rehearsals, retakes are seldom necessary. In this respect, 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 position; chalk marks were placed conspicuously on the stage floor; there were numerous rehearsals, and of course there is the vigilant script girl overlooking the proceedings, relaying instructions over the intercom system.

In the beginning there was a very definite reason for the decision of Desilu Productions to put I Love Lucy on film instead of doing it live and having kinescope recordings carry it to affiliate outlets of the network. The company was not satisfied with the quality of kinescopes. It saw that film, produced especially for television, was the only means of insuring top quality pictures on the home receiver as well as insuring a flawless show. "Putting a show on film, you can plan and cut, which you can't do with a live show," Freund explained. "Also, you avoid the fluffs that are bound to happen in live shows. But most important, if the film doesn't look right after its edited, you can re-shoot scenes, and add others to improve the picture, if necessary."

A question frequently-asked is why -- as long as the show is filmed, the same as a theatrical film -- does the company employ three cameras instead of only one, as do the major studios. The answer is that the I Love Lucy show must retain the illusion and the effect of immediacy of a live TV show. For this reason it must be filmed before an audience, and this makes it necessary to shoot the various long shots, medium shots and closeups all at the same time in order to provide the film cutter with the desired takes for editing.

The three cameras shoot an average of 7,500 feet of 35mm film per show. The filming procedure, as presently followed, Freund pointed out, is far less costly than major studio film production.

One of the first significant moves by Desilu Productions was to surround its stars with the best technical and creative talent -- ideally illustrated by its decision to sign Karl Freund, dean of cinematographers, to direct the photography of I Love Lucy shows. Freund is one of the few cinematographers alive today who saw the start of silent pictures, of sound films, of color photography, and now television films -- and who had a hand in the development of each. To accept the Desilu assignment was to accept the challenge of obtaining the quality of film image demanded of television films, despite the technical handicaps understandable in a new industry.

"What we are striving to do," says Freund, "is establish a standard that will please the television industry. At present, it is useless to try and improve further the photographic quality of TV films until the industry is ready for it -- that is, until there is further technical improvement in the various electronic components of the television system. Already in recent months, the industry has made great strides in this direction, with considerably improved picture quality from TV films now evident."

The David Levi Celebrity Entertainment NEWS Network is a free discussion fan message board, open to all and used for educational purposes ONLY!- Please NOTE the following copyright credits below;
Original material © 2005 Lucyfan Enterprises.
I Love Lucy is copyrighted by and a registered trademark of CBS Worldwide, Inc.
Images of Lucille Ball and Desi Arnaz used by permission of Desilu, too, LLC.
Licensing by Unforgettable Licensing, Northbrook, Illinois.

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>Dann Cahn recalls >getting Lucy’s first show >on the air 45 years ago > >In a time when new television programs seem to come >and go in a matter of weeks, it’s a little >mind-boggling to realize that I Love Lucy has been >with us now for 45 years! > >Yes, the program celebrated its 45th anniversary on >October 15, 1996. The truth of the matter is TV (and >radio before it) has always been a rather volatile >medium driven by the maxim that no one ever really >knows what the public will like. Lucille Ball knew >what a "crap shoot" starting a television series could >be -- and was eternally grateful that the American >public fell in love with her show almost from the very >beginning. > >Getting any show up and running can be a logistics >nightmare for the people in charge, and I Love Lucy >was no exception. "The team" in those days consisted >primarily of Jess Oppenheimer, Bob Carroll Jr., and >Madelyn Pugh, the creative trio who had written Lucy’s >radio program, My Favorite Husband, and who had also >conceived the premise for the TV show. Oppenheimer, >who had served as producer-director of the radio >project, would serve as producer of I Love Lucy as >well. > >Assembling a staff was Oppenheimer’s first chore that >summer. Al Simon, who had been working with Ralph >Edwards’ production company, signed on to serve as >Desilu’s production manager; Karl Freund, an >award-winning cinematographer Lucy knew from her MGM >days, was persuaded to try his hand at television; and >Marc Daniels, a noted director of "live TV" dramas in >New York, agreed to direct. > >To edit the show, Daniels suggested a man named Alan >Jaggs, who unfortunately did not have the 8 years >"apprentice" experience then-required by the editors’ >union. Oppenheimer then asked a creative young man >named Bill Asher, who himself was trying to get yet >another TV project off the ground. Asher declined, but >suggested a friend of his, Dann Cahn -- who at that >moment just happened to be finishing a movie >assignment. Cahn said he could be available after >Labor Day. Cahn it was. > >(Jess never forgot Bill Asher -- a year later, when >Marc Daniels decided to move on to another assignment, >Bill was brought in to replace him.) > >Real estate was another problem. Lucy’s rather crude >pilot or audition film had been produced the previous >March in a converted radio studio at CBS’ Columbia >Square facility. For the actual series, Desilu would >need its own dedicated space. Unfortunately, most of >the big motion picture studios at that time considered >television a major competitor, and refused to rent a >soundstage to a fledgling -- but promising -- video >operation. > > >Finally Desilu found adequate room on a small >Hollywood movie lot called General Service Studios. >They knocked out a wall, laid a new floor, added >bleachers for the audience, and began building sets >for the first Ricardo apartment. Space was so tight >that they decided the Ricardo bedroom would "double" >(with different furnishings) for the Mertz living >room. > >Production began Saturday, September 8, on "Lucy >Thinks Ricky is Trying to Murder Her." The cast >attempted to film the show "straight through" like a >Broadway play, with few breaks between scenes. Because >Lucy was featured throughout, she layered her costumes >for the first few scenes, then played the last scene >with a raincoat over everything else. The company >quickly realized this would never work for the full >series, and beginning with show number two, they >allowed for costume changes between scenes. > > >That second episode, "The Girls Want to Go to a >Nightclub," in which Lucy and Ethel dress up as >hillbillies to fool their husbands, proved so much >more entertaining that Philip Morris and CBS decided >to air that one first. Everyone was thrilled with >putting their "best foot forward" -- everyone except >Dann Cahn and his assistant Bud Molin whose job it was >to edit the scenes and give a show its timing, pacing, >and overall "patina." For them, the switch was a >potential disaster. It meant they had even less time >than they had thought to get the premiere show "on the >air." > > > >Dann, then his mid-twenties, was the closest thing >Desilu had to "an old pro" as far as "filmed TV" was >concerned -- he had helped to edit one of the medium’s >first film anthologies for 6 months back in 1949. >Molin had been a friend of Dann’s since both had >"served time" in the editing room at the low-budget >Republic Studios in the late 1940s. Working fast and >for long hours was nothing new to either man -- but >this last minute switch was a real challenge. > > >Dann recently recalled, "Bud Molin and I were putting >in 14-hour days and it was obvious by the time we >started editing that second episode (to air first) >that we needed help. We got a young eager apprentice >from USC film school by the name of Gary Freund (not >related to Karl). > >"We had a nice old timer, Hal Hodge, based across the >street at Consolidated Film Labs, to cut the negative. >We still needed someone to smooth out the laugh tracks >after editing and put in a few sound effects and cut >the music. Al Simon, the production manager, thought >that because we had "the Monster" (the 4-headed >Moviola), Bud and I should have time to do it all >ourselves. I said, ‘It’s impossible!’ on the schedule >we were operating on. At a meeting with Simon, Jess >Oppenheimer and Desi Arnaz, Desi made a crack, ‘Danny, >you want to have a cutting room staff as big as my >band!’ A year later we did. > >"Jess had been spending more time with me in the >cutting room than the others and could see that Bud >Molin and I needed help." > >Dann enlisted the aid of another old friend from his >movie days, Quinn Martin, who was busy editing the >voice of "Francis, the Talking Mule" for a Donald O’ >Connor picture at Universal. Quinn was reluctant to >give up a "sure thing" movie assignment for a TV gig >that could end after a couple of months. "I twisted >his arm (ear) on the phone," Dann recalls today, and >Quinn came in for an interview. He not only agreed to >join the Desilu staff as a music and sound effects >editor -- he stayed with the new company nearly ten >years and became one of its most successful producers. > >But that was all down the road. In 1951, Quinn and Bud >and Dann set their sights on getting I Love Lucy on >the air. As Cahn recalls, "The I.A.T.S.E. contract in >those days was for a six-day work week. Bud and I >added a seventh day to our endeavor and got that >second show, which was shot on Saturday, September >15th, ready for the premiere in less than four weeks. >(Editing, music, sound effects, optical camera work >and titles, dubbing, negative cutting and answer >print.) We got two 35mm prints out of Consolidated >Film Laboratories on Friday, October 12th. One for the >West Coast and one for New York and the East Coast. No >jet planes in those days. The New York print made it >with just hours to spare. We also ordered 16mm backup >and delayed-broadcast prints. > > >"On Monday, October 15th, I Love Lucy was scheduled to >debut on CBS. Emily Daniels, who was the camera >coordinator as well as the wife of Marc Daniels the >director, had invited me to their home to see the >premiere and have a late dinner. After a full day’s >work, I drove to the Daniels’ home deep in Laurel >Canyon. Crowded around the TV were Lucy, Desi, Vivian >Vance with her then-husband Phil Ober, the writers >Madelyn Pugh and Bob Carroll Jr., the head >writer/producer Jess Oppenheimer and his wife Estelle. > >"Talk about unsophisticated television transmissions. >The 16mm backup print ran in sync with the 35mm >broadcast print in case something happened to the >broadcast print in transmission. Somehow the sound on >the Los Angeles backup print got turned on during the >broadcast of the premiere. It was running three or >four sprockets ahead or behind the 35mm picture >transmission. With both sound tracks going at one >point, on ahead of the other, the dialog sounded like >it was being transmitted from a pair of speakers on a >football field. > >"When the sound went out during the show and then the >sound doubled up, I thought Desi was going to have >apoplexy. We all had a lot riding on this and Desi had >risked a lot to have the show made on film. Now he >might have been wrong. He looked at me. I looked back. >What did I know? The answer print had been fine. > >"On Tuesday, October 16, 1951, the Daily Variety in an >otherwise fair review noted, and I quote, ‘I Love >Lucy...suffered two annoying fluffs, once the sound >was completely lost and later, as if to make up for it >there were two voices talking at the same time...’ It >was a shaky kick off! > >"On Wednesday, October 17th, Weekly Variety came out. >The technical goofs were not mentioned because they >only involved the Los Angeles broadcast. The New York >transmission must have gone well because it was a >glowing review. It started out -- > >‘CBS and Philip Morris fell heir Monday night to one >of the slickest TV entertainment shows to date. Its >the new Lucille Ball-Desi Arnaz I Love Lucy situation >comedy, which the cigarette company has installed in >the Monday Night at 9 period. It’s costing PM $30,000 >a week (exclusive of time) for the half hour film >series. (Without even enjoying benefits of residual >rights, which revert back to the packagers), but on >the basis of this weeks preem installment, it should >sell lots of cigarettes. ...it’s a slick blending of >Hollywood and TV showmanship, for which much credit >belongs to Karl Freund masterminding on the camera and >Marc Daniels on the direction. Lucy is a hang-over of >sorts from the ex-CBS radio series, My Favorite >Husband, with Jess Oppenheimer again heading up the >writing brigade (along with Madelyn Pugh and Bob >Carroll Jr.) with Oppenheimer also producing and >turning in a top quality job on both to match Daniel’s >directorial skill.’" > >It was an auspicious start for this rather unusual new >television venture. For Lucy and Desi, it meant maybe >the gamble on television had not been so foolish after >all. For Dann Cahn, it was, as he put it, the start of >"the most exciting and successful decade of my life." > > >------------------------------------------------------- >------------------------- > > >In the Beginning: > >A Different Beginning! > > >When I Love Lucy originally aired on CBS >(10/15/51-6/24/57), the opening titles were much >different than the satin-heart-with-script-writing >that we have seen for years on the reruns. The >original presentations were introduced by little Lucy >and Ricky animated stick figures; the title was >printed within a heart, but the lettering was in a >free-hand block style. (The figures appeared again at >the end of Act I in short animated sequences that led >into and out of the mid-break commercial.) > >Why were these elaborate animated productions >eliminated? Because the stick figures normally popped >out of a sponsor’s product -- a pack of cigarettes, a >can of shortening, etc. In those days one or two >sponsors normally picked up the entire tab for a >series. Once the show went into reruns, it had >multiple sponsors (as most all programs do today), >making the animated openings obsolete. (The >script-heart version, as a matter of fact, was created >as early as 1951 when the show was first offered for >sale to Canadian stations -- which booked their own >sponsors.) > >The first animated openings were produced by Dudley >Television Corp. to the specifications of the Milton >Biow Advertising Agency on behalf of Philip Morris >cigarettes. It was then Dann Cahn’s job to integrate >the sequences into the weekly shows, as filmed by >Desilu. Dann wrote about the task in the November, >1995, issue of Cinemeditor magazine, which has >graciously allowed us to reprint the article in full: > > >The Animated Opening of >I LOVE LUCY >by Dann Cahn, A.C.E. >The animated opening to each episode of I Love Lucy >presented a genuine challenge to the editorial >department. Every week we had to prepare a different >integrated billboard to introduce the show. In the >illustrations above, the animated stick figures of >Lucy and Desi were on a scaffold. An alternate >billboard had them putting up a marquee and, in still >another, they were working searchlights. > >In the above opening, Johnny, the bellhop, begins the >process with his "Call for Philip Morris!" Then the >stick figures descend on the scaffold and "I Love >Lucy" is revealed, followed by the two figures rolling >up the cigarette pack to reveal the opening scene of >the episode. > >Today, this type of opening would be easily generated >as computer effects, but in 1951, all of this had to >be assembled each week on an optical printer using >fine-grain masters. It was slow and complicated. The >schedule dictated that each week the optical would >have to be composited on a Saturday to make the air >dates. > >Originally, Larry Glickman, head of Pacific Title, was >hired by Al Simon to do the optical printing and title >work, but Larry felt the job didn't justify working >Saturdays. Darrell and Howard Anderson had an optical >printer set up at the General Service Studios where we >were filming, so I laid out my schedule for them. >Saturdays were not a problem. They got the job and >they did it well. When Desilu started a second series, >Our Miss Brooks, we gave them that job also. Thus >began a long partnership between the Howard Anderson >Company and Desilu. As the Desilu empire grew, so did >the Howard Anderson Company -- and the association >continued through the legendary Star Trek series. > > >------------------------------------------------------- >------------------------- > >Originally published in the November, 1995, issue of >Cinemeditor. Used by permission of Dann Cahn, A.C.E., >and American Cinema Editors, Inc. > >Photos included in this article were made from >original videos through the courtesy of Rob Vale of >Videostill. > > > By KARL FREUND, ASC >Despite the 43 years I've devoted to cinematography, I >must admit that I was scarcely prepared for the many >problems which were to confront me upon my initial >excursion into the realm of television with the "I >Love Lucy" show. Fortunately, this motion picture >experience helped to cushion many of the serious >problems and aided me in adapting myself to this new >medium. > >Today, many of the initial difficulties we've >experienced have, to some extent, been solved, but we >still remain in the infancy of a fascinating new >entertainment medium. There are formidable problems >ahead, all of which will be conquered in due time. As >for myself, I have enormously enjoyed being a part of >the team which has already overcome some of the >preliminary hurdles. > > >The Lucille Ball-Desi Arnaz show was a challenge from >the start. It was decided that, for the firs time, TV >cameras would be replaced with three motion picture >cameras to allow more flexibility in editing and to >improve the photographic quality over kinescope >recording. > >This, I felt, was a legitimate approach to the >situation. I expected very little variation from the >ritual of photographing regular motion pictures -- but >I had not taken into consideration the unique problems >involved. I was soon to be faced with them. > >First of all, a live show requires an audience. This >necessitated a regular studio sound stage equipped >with bleachers to hold some 300 people. Above the >stage a series of directional microphones and loud >speakers had to be installed. > >To give the audience a clear view of the program, and >to allow the cameras total mobility without >interference from floor cables, the lights for the >sets had to be placed above the stage. > > >It became obvious almost at once that the overhead >light placement was hardly flattering to the >photographing of the performers. While the print value >seemed up to par when projected in a studio projection >room, they showed too much contrast when viewed over a >closed TV circuit. Thus, we were faced with the fact >that the greatest difference between standard motion >pictures technique and TV films is the subject >lighting contrast, which is required. > >The immediate question was what method we should use >to obtain the desired compression in the positive >print. The solution was fairly simple. > >After careful survey, we selected a method that would >involve no departure from standard practice in >processing laboratory operations. That is, in exposing >the original negative, use a subject lighting contrast >considerable lower than that normally used for >conventional black and white motion picture >photography and process both the negative and print in >the normal way. > > >It requires four days to line up each weekly show of >"I Love Lucy" and "Our Miss Brooks." Two of these days >are for rehearsals. At the end of the second day the >cameraman sees a run-through during which he can make >notes and sketches of positions to be covered by the >cameras and instructs the electrical crew as to where >lights are to be placed. The last two days are >occupied by rehearsals with cameras. > >Since a show with audience participation must go on at >a specified time, this schedule must be religiously >adhered to by everyone concerned, including the cast. >An hour and a half is the actual shooting time. > >To film each show we use three BNC Mitchell cameras >with T-stop calibrated lenses on dollies. The middle >camera usually covers the long shot using 28mm. to >50mm. lenses. The two close-up cameras, 75 to 90 >degrees apart from the center camera, are equipped >with 3" to 4" lenses, depending on the requirements >for coverage. > >The only floor lights used are mounted on the bottom >of each camera dolly and above each lens. They are >controlled by dimmers. > >There is a crew of four men to each camera: the >cameraman, his assistant, a "grip" and a "cable man." >Unlike TV, where one man generally handles the camera >movements and views the results immediately, this >technique requires absolute coordination between >members of the crew. > >Every movement of each dolly is marked on the floor >for every scene. And since all the movements of the >camera are cued from the monitor box, the entire crew >works from an intercom system. > > >As for myself, I utilize a two-circuit intercom. This >allows me to talk separately to the monitor booth and >the camera crew on one; the electricians handling the >dimmers and the switchboard on the other. > >Retakes, a standard procedure on the Hollywood scene, >are not desirable in making TV films with audience >participation. Dubbed-in laughs are artificial and, >consequently, used only in emergencies. Close-ups, >another routine step in standard film-making, were >discarded since such glamour treatment stood out like >a sore thumb. > >The public acceptance of "I Love Lucy" and "Our Miss >Brooks" has been a source of great inspiration for me. >The challenge has been a real one -- one I have found >both stimulating and exciting. > >We still have some way to go before TV viewers will >have the opportunity of seeing films with the quality >which can be favorably compared with those to which we >have been accustomed in our theatres. > >As I watch television films on my own set I am >continually aware that I do not have a complete >control of the end results. For there is an engineer >in every television station control booth who can >change the screen image according to his instructions >and depending upon the condition of his equipment. And >there are the TV viewers who are their own "engineers." > >I believe that the time is not too distant when the >only engineers will be the technicians who actually >create the film that is transmitted. Only when that >day arrives will we really have film quality >comparable to motion picture standards as we know them >today. > > >------------------------------------------------------- >------------------------- >The following article is reprinted from the January, >1952 issue of American Cinematographer Magazine. It is >interesting to note that even a few weeks into >production, "I Love Lucy" was recognized as setting >new standards for television production. > >The article is a little technical, but we think you >will enjoy it! > > >------------------------------------------------------- >------------------------- > > >General view of tri-set layout on Stage 2 of General >Service Studio where the weekly "I Love Lucy" film >show is produced. All lighting is from overhead, with >units so mounted they can be changed with a minimum of >time and effort. The show is photographed with three >Mitchell 35mm BNC cameras, all shooting >simultaneously. Camera (1) in center makes all the >long shots, while closeups are filmed by cmmeras (2) >and (3) at either side. Besides floor markets and >memorized instructions, technical staff also is >monitored by script girl via intercom phone system as >show progresses. Retakes are rare and time between >setups averages but a minute and a half. > >Filming the 'I Love Lucy' Show > >Weekly CBS-TV comedy show filmed in Hollywood >sets pace for top-quality television > > >If there is a revolution imminent in the production >methods of motion picture making in Hollywood, it >probably is taking place these days on Stage 2 of >General Service Studios, where Desilu Productions, >Inc. is turning out 22 minutes of TV program film in >60 minutes of actual shooting time. > >Major film producers could take a lesson from this >company which, like other makers of television films, >was in the beginning faced with the problem of how to >make films economically and at the same time >successfully entertaining for the new medium. That >Desilu is succeeding in this is evident in the fact >that the company is operating at a profit, and that >its product, the I Love Lucy television show, is >rapidly climbing toward the No. 1 spot in the national >polls; at this writing the show is No. 4 in the >ratings. > >From the point of view of picture quality, technical >men rate the show as one of the best of all filmed TV >shows. Credit for this is due to Karl Freund, A.S.C., >who is directing the photography. > > >With the steady rise in popularity of the show, the >photographic methods employed by Freund and his camera >crews are creating widespread interest among producers >of motion pictures -- both major and television. >Production executives from nearly every Hollywood >studio have "scouted" the show during filming and have >lauded Freund for his achievements. > >Visiting the sound stage during a rehearsal or an >actual filming of a I Love Lucy show, one is impressed >by the methods and by the orderly manner in which >production proceeds. There are none of the >interminable delays which mark the production of films >in the major studios. Delays could not be tolerated >because the show must proceed much the same as an >actual live show telecast, inasmuch as there is an >audience also present on the stage. This audience is >an important adjunct to the show and its audible >reaction as the show unfolds is recorded >simultaneously with the dialogue and becomes an >integral part of the production. > >The action in each weekly episode of I Love Lucy takes >place on three basic sets erected more or less >permanently on Stage 2. The sets, which represent the >apartment of Ricky Ricardos (Desi Arnaz and Lucille >Ball), consist of kitchen. living room, and a third >room which is dressed as required. The sets adjoin one >another and are, in fact "intercommunicating," so that >action, such as a player entering the living room from >the kitchen door, becomes a natural thing; and when >the continuity of such action is to be picked up by >the cameras, they are merely moved before the >adjoining set and filming is resumed in a matter of >seconds, as will be described later in more detail. >Beyond this three-set arrangement is still another set >representing the nightclub where Ricky Ricardo is >employed as entertainer. Here the orchestra is >assembled for every show, whether or not it is to be >used in the picture filmed that evening. > >The show goes before the motion picture cameras in >much the same way it would as a live show in a >television studio. Indeed, as Karl Freund points out, >the almost continuous camera-on-dolly technique >employed is adapted from standard TV camera operations >for live shows. > >The show is photographed on 35mm film with three >Mitchell BNC cameras mounted on dollies, as shown in >the photos. All three cameras shoot the action >simultaneously. The camera in the center makes all the >long shots with a 40mm wide-angle lens. The cameras at >either side record the action in close-ups, using >3-inch and 4-inch lenses. In the beginning, the >company used a cue-track method, which permitted >remote control operation of the cameras individually >for long shot, medium shot, and close-up, as the >script demanded. This system was soon abandoned, >however, in favor of regular film production methods, >with the tacks from the three cameras edited on the >Moviola, etc. The result is greater speed in the >photography of scenes and better results in the final >editing. > >Cueing of camera operators, grips operating the >dollies, and of the gaffer handling the light dimmers >is still a major function in the production of the >weekly films. When the show is being photographed, the >script girl in a booth overlooking the stage is in >direct contact with the key technicians at all times >via two-way intercom phones. Although each man >previously is briefed on the operation and in many >cases has floor marks to guide him, the script girl >insures against any possibility of error by her timely >cues. Impressive is the speed with which the crews >move on to the next setup and start shooting again. A >special check made of this operation showed that >elapsed time between camera setups averaged a >minute-and-a-half. > >A major factor making such speed possible is the >lighting arrangement worked out for the production. >Since invariably the players are in action over almost >the entire set, the light intensity must be uniform >over the entire area at all times. There are no light >changes, other than those made by dimming. All set >illumination, therefore, is from overhead. there are >no floor lamps and the only illumination from a lower >level comes from the portable fill lights, which are >mounted just above the matt box on each camera. The >set lamps are rigged on catwalks, which are suspended >above the sets. The light units consist of Seniors and >converted Pans with spun glass diffusers added. the >overhead lighting scheme keeps power cables off the >floor and makes feasible the unobstructed operation of >camera dollies as well as quick movement of camera >equipment to the subsequent setups. > >"To light a set for three cameras operating >simultaneously and from different positions is a >problem in itself," Freund said. "We have to light as >uniform as possible, yet watch for opportunities to >add highlights whenever we can. This is highly >important, inasmuch as it is a comedy show requiring >high-key illumination." > >"Contrast also has to be watched carefully, since the >tube in the film image pickup system of the television >station is quite contrasty. Any contrast in the film >therefore is compounded if not exaggerated in each >step of the transmission of the picture. This makes it >necessary to keep the contrast in the original >negative down to what we call a 'fine medium.'" > >This knowledge of the contrast secret is further >revealed in the décor of the sets. These are painted >in various shades of grey. props likewise follow the >ethical demands of correct contrast, as do the >wardrobes of the players. Even newspapers, when they >are to appear in a scene, have to be tinted grey. Such >overall uniformity of colors or tones in the scenes >make rigid demands on the lighting and has resulted in >the careful illumination formula which Freund and his >gaffers now regular employ in lighting the sets. > >Although each weekly show goes before the cameras at 8 >o'clock Friday evenings, and is photographed entirely >the same evening, the preceding four days are employed >by the company in rehearsals, pre-production planning >and script revision. the camera crews have but two >schedules in the five-day period -- on Thursday and >Friday. > >The director, actors and writers gather on the stage >for a reading of the script on Monday and Tuesday; >late Tuesday afternoon the first of the rehearsals are >held. By Wednesday afternoon, the company is ready to >run through the show for Freund. This usually takes >place at 4:30. No cameras are on the set at this time, >nor are any members of the camera crews present. >During this rehearsal, Freund studies the players I >their movements about the sets, takes note of how and >where they enter and exit, and plans his camera >operations and lighting accordingly. > >The following morning at eight o'clock Freund and his >electrical crew begin the task of lighting the sets, >and endeavor to have the job completed by noon. At >this time, the camera crew members come on the set and >are briefed on camera movements, etc. With the crews >and cameras assembled on the stage, camera action is >rehearsed. This enables Freund to make any necessary >changes in the lighting or operation of the camera >dollies. Cues for the dimmer operator are worked out >at this time. Chalk marks are placed on the floor >indicating the positions the cameras are to take for >the various shots or the range of the dolly action for >a given scene. > >At 4:30PM Thursday, there is another rehearsal -- this >time with the camera crews, gaffers, sound men, etc., >on hand. Then at 7:30 the same evening a dress >rehearsal is held, Freund, camera operators, gaffers >and grips are on hand -- but the cameras are not >brought onto the floor. At this time the general plan >of the show is discussed by the director. Notes are >made for future guidance by all present. An open >discussion then follows at which time lines of >dialogue are cut, action shortened or deleted, camera >movements analyzed -- in short, everything is done at >this time that will tighten up the show and improve >its pace. This is the period in pre-production >planning when problems are aired and suggestions made >and considered. > >On Friday, when the show is scheduled to be shot, >there is a 1 PM call for everyone in the company -- >players, technicians, the producer and the director >and his staff. If any major changes in the action, >dialogue or camera treatment were decided in the >previous evening's discussions, these are now worked >into the show during another general rehearsal. > >A final dress rehearsal takes place at 4:30 PM, with >the cameras now on the floor. Freund gives his >lighting a final check, makes any necessary last >minute changes before the company breaks for dinner. > >After dinner, company and cast return to the stage, >and there follows a general "talk through" of the >show. At this time, further suggestions are considered >and decisions made on any remaining problems, so that >by 8 o'clock the company is ready to film the show. > >In the meantime, the audience seating on the stage has >rapidly filled and Desi Arnaz or some other member of >the company is briefing the audience on the show, >explaining the filming procedure, and emphasizing the >importance its natural, spontaneous reaction plays in >the show's success. > >Then for approximately sixty minutes the show is >filmed. As soon as action is completed for one set up, >the cameras, crew and players move rapidly to the next >set up, and the action is resumed. All scenes are shot >in chronological order. > >As is to be expected, where a production receives such >meticulous planning and thorough rehearsals, retakes >are seldom necessary. In this respect, 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 position; chalk marks were placed >conspicuously on the stage floor; there were numerous >rehearsals, and of course there is the vigilant script >girl overlooking the proceedings, relaying >instructions over the intercom system. > >In the beginning there was a very definite reason for >the decision of Desilu Productions to put I Love Lucy >on film instead of doing it live and having kinescope >recordings carry it to affiliate outlets of the >network. The company was not satisfied with the >quality of kinescopes. It saw that film, produced >especially for television, was the only means of >insuring top quality pictures on the home receiver as >well as insuring a flawless show. "Putting a show on >film, you can plan and cut, which you can't do with a >live show," Freund explained. "Also, you avoid the >fluffs that are bound to happen in live shows. But >most important, if the film doesn't look right after >its edited, you can re-shoot scenes, and add others to >improve the picture, if necessary." > >A question frequently-asked is why -- as long as the >show is filmed, the same as a theatrical film -- does >the company employ three cameras instead of only one, >as do the major studios. The answer is that the I Love >Lucy show must retain the illusion and the effect of >immediacy of a live TV show. For this reason it must >be filmed before an audience, and this makes it >necessary to shoot the various long shots, medium >shots and closeups all at the same time in order to >provide the film cutter with the desired takes for >editing. > >The three cameras shoot an average of 7,500 feet of >35mm film per show. The filming procedure, as >presently followed, Freund pointed out, is far less >costly than major studio film production. > >One of the first significant moves by Desilu >Productions was to surround its stars with the best >technical and creative talent -- ideally illustrated >by its decision to sign Karl Freund, dean of >cinematographers, to direct the photography of I Love >Lucy shows. Freund is one of the few cinematographers >alive today who saw the start of silent pictures, of >sound films, of color photography, and now television >films -- and who had a hand in the development of >each. To accept the Desilu assignment was to accept >the challenge of obtaining the quality of film image >demanded of television films, despite the technical >handicaps understandable in a new industry. > >"What we are striving to do," says Freund, "is >establish a standard that will please the television >industry. At present, it is useless to try and improve >further the photographic quality of TV films until the >industry is ready for it -- that is, until there is >further technical improvement in the various >electronic components of the television system. >Already in recent months, the industry has made great >strides in this direction, with considerably improved >picture quality from TV films now evident." > >The David Levi Celebrity Entertainment NEWS Network is >a free discussion fan message board, open to all and >used for educational purposes ONLY!- Please NOTE the >following copyright credits below; > > Original material © 2005 Lucyfan Enterprises. >I Love Lucy is copyrighted by and a registered >trademark of CBS Worldwide, Inc. >Images of Lucille Ball and Desi Arnaz used by >permission of Desilu, too, LLC. >Licensing by Unforgettable Licensing, Northbrook, >Illinois.
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