The television of 1952 iwas a new medium whose means were very primitive but each year technology evolved at a rapid pace. Despite having a dayly program schedule of eight hours or less, the first studios of Radio-Canada were in constant use because most of the programming was produced live. Aside from the option of filming a TV monitor, no other reliable method of recording TV content existed, and that with poor quality.

For a breather, TV could count on cinema to fill certain time slots, such as popular films, documentaries, news reports, interludes, TV ads and other documents from independent studios.

The integration of all the trades involved in the preparation of a TV show reached its fruition when, finally, actors and technicians performed their rehearsed roles with split second timing. One could compare a live TV show of the fifties to a play where intruders with huge cameras were hindering the performance of actors while a producer hidden in a separate room behind a row of screens, dictated orders to the stage manager through a microphone, while his eyes were riveted to a stopwatch.

Always at the forefront

Understand then explain

Understand the complexities of a field then translate in simple words or images its essence to teach others: this was an invaluable talent of Ladouceur. Very quickly, both at the NFB and at Radio-Canada, his skill was noted to help training young recruits attracted by the glamor of film and television.

This need for in-house training was obvious because the regular education system had yet to develop training programs for these new fields.

In less than ten years, electronic technology made huge leaps in cameras, mixing desks, video tape recording, new studio equipment, all this required continuous training of creators who had to navigate this universe.

Insatiable, Jean-Paul Ladouceur had a unique ability to visualize the interworkings of systems and express them in simplyfied drawings and succint explanations. This made him a valued trainer and a convincing speaker.