TelevisionTHE BUSINESS MAGAZINE OF THE INDUSTRY

December

35

Inside and out, Farnsworth quality is evident. When you seetoday's television on a Farnsworth - you see it at its hest.

Television is no longer in rehearsal. It is here, now! And when you seethe clear, bright, highly defined pictures of modern day television as receivedon one of Farnsworth's table or console models, you know that today's tele-vision is outstanding.

For two decades Farnsworth has pioneered in advancing television froma promise to a fact. The technical accomplishments of Farnsworth engineers.--from the original development of the electronic television system to practicaltelevision as we know it today-have made history.

Superb modern designs characterize Farnsworth's current line of televisionreceivers that, in addition to television sight and sound reception, includestandard radio and/or frequency modulation. Some models also combine thedeluxe Farnsworth record changer for complete television, radio and phono-graph service in one instrument.

These instruments offer the same superior performance that has becomesynonymous with the Farnsworth name in every branch of its electronicsactivity. Farnsworth Television & Radio Corporation, Fort Wayne I, Indiana.

TELEVISIONRADIOPHONOGRAPH -RADIO

Television contentsTNF BUSINESS MAGAZINE OF ND

Volume III, No. 10 December, 1946

FREDERICK A. KUGELEditor and Publisher

MARY GANNONManaging Editor

SIDNEY R. LANEAssociate Editor

DOROTHY HOLLOWAYWashington

T. R. KENNEDY, JR.Technical Editor

JACK KILPATRICKPatents

HELEN HOWLEYResearch

PETER B. JAMESBusiness Manager

M. M. PRITCHARDCirculation Manager

RICHARD ROSEArt Director

Published monthly by Frederick Kugel Com-pany, 690 Madison Ave., New York 22, N. Y.Single copy. 35 cents. Yearly subscription inthe United States, its p ions and nationsof the Pan American Union. $4.00; in Canada.84.50; elsewhere, 85.00. Entered as second-class matter February 20, 1945. at the post -office at New York, New York, under the actof March 3, 1879. Copyright 1946 by FrederickKugel Company. All rights reserved. Editorialcontent may not be reproduced in any formwithout permission.

TELEVISION OUTLOOK IN DETROITWWDT slated to open soon has already sold about 50%of a 28 hour week schedule

REPORT ON FORD'S COMMERCIALSAn analysis of the commercial techniques used in present-ing Ford's "Parade of Sports"-by Sidney R. Lane

HOW TO BUY A TELEVISION SETA report on how television sets are being bought

W6XAO STATION OPERATIONSOperational policy of Don Lee's Los Angelesoutlet-by Mary Gannon

STATION DESIGNA producer and an architect get together-by Harvey Marlowe

DEPARTMENTS

TELESCOPEThis month in the industry-persons and places

WASHINGTONEntire FCC bench slated to sit in on color hearings-UHFtests disappointing-by Dorothy Holloway

ONE MAN'S REFLECTIONSTelevision programs determine equipment choice-by Dr. Alfred N. Goldsmith

ADVERTISINGCBS issues rate card . . . commercial line-up at operatingstations . . . resume of current formats

PROGRAMMINGCommentating techniques used with sports and specialevents ... reviews of current formats

FILM

Factors affecting the costs of films

EQUIPMENTAll -electronic color .. . recent patent grants

EDITORIAL

10

15

18

22

4

6

21

24

30

36

37

40

FM Soundirrcitr Unit

Sound R -F Craver Unit

(also part of sound PA)(also part o sound PA)

STR A IGHT- _INE Arrangement (over-all width 208inches). Unit -construction permits flexible station lay-

out, advantageous use of available floor space.

;ound *Mies UnitPower Contr ,i Unit

I;)

Pr

Picture Modulu-orRectifier Und

U -SHAPED Arrangement -several versions possibledown to a minimum width of 150 inches. Transmittingequipment also includes console; sideband filter, di-plexer, and dummy load (three units at right, rear);watercooling equipment (left, rear); and racks for test

and other equipment (right, foreground).

2 Television

Deliveries to begin soon on...0001111O

Driver-P,,tur. tr,rtifier

Picture R -Falso part picture PA

Picture Modular or...also part picture PA

One transmitter...one standard of quality...for all 12 metropolitan channels

This revolutionary, new RCA televisiontransmitter, we believe, offers the lastword in convenience, operating economy,and performance. Here, in one attrac-tively styled group of cabinets, are allthe necessary components of both thevisual and aural transmitters.Take a look at some of its features:- Simplicity of operation ...complete unifica-

tion of control .. . no trick circuits ... noneutralization of modulated power -amplifier stage required on any channel...only one easily adjusted modulated stage.

- Roomy, "walk-in" type construction...easyaccess to all parts through full-length frontand rear doors ... ease of handling and in-stallation (each section only 25 by 36 by80 inches).

-A revolutionary new tube used in bothsound and picture power amplifiers-theRCA -8D21, a dual tetrode. Sets new rec-ords for stability, gain per stage, low grid

THE FIRSTPOSTWAR

1111'eTELEVISIONTRANSMITTER

RCA's new 5 -kw, 54 to 216 nit, Typo TT -SA

current, linearity, and band -width by employ-ing advanced principles of screening, cool-ing, and electron optics.- The separate, sideband filter used in RCA's

high-level system (i.e. only last stagemodulated) means more straightforwardcircuits; eliminates complicated adjust-ments; assures better picture quality.

- "Reflectometers" incorporated in both theaural and visual output circuits. Basicallythese are uni-directional vacuum -tube volt-meters which provide an instantaneouscheck of the standing -wave ratio on thetransmission line and peak power output;also used as safety devices to protect trans-mission line from power arcs.

- Manual or automatic sequence starting. I nautomatic position, a three -slot recyclingsequence returns transmitter to the airthree times in case of momentary overload.

-A special "hold -in" circuit. Provides in-stantaneous return to air after momentarypower -line failure.

- Console provides four -position, push-button monitoring of visual signal-trans-mitter input, modulator output, sideband-filter output, and "off the air." (Third orfourth position measures percentagemodulation of visual carrier.)

Outstanding features like these-of ben-efit to the station engineer, manager,owner, and audience-have been builtinto all the new items in RCA's completetelevision line. Deliveries on existing or-ders from 20 top broadcasters have al-ready begun on such items as portablefield equipment, synchronizing genera-tors, and monoscope cameras. Initial ship-ments of transmitters and other equip-ment will be made this fall.

New RCA -81:121Dual Tetrode spe-cially developedfor television

broadcasting

TELEVISION BROADCAST EQUIPMENTRADIO CORPORATION of AMERICAENG/NEER/NO PRODUCTS DEPARTMENT, CAMDEN, N.J.

In Canada: RCA VICTOR Company Limited, Montreal

December, 19463

telescope

The Brooklyn Dodgers are signed up by CBS to a long-term contract fortelerights to all Ebbets Field games. Signatories are L. to R. (seated): FrankStanton, CBS president. and Branch Rickey, Dodger president. L. to R. (stand-ing): J. L. Smith, Dodger v.p.. Judge H. L. ligbelts, Dodger director: W. F.O'Malley, Dodger v.p., and Lawrence Lowman, CBS v.p.

Charles R. Denny,acting FCC chairmanand W. W. Watts,RCA Victor v.p., sitinside new RCA mo-bile unit. One andone-half ton truckhas custom built bodyand houses the com-plete mobile controlstudio with built-inoperating desk.shelves and lockers,and six special cablereels each containing200 feet of cameracable.

Television signing of the Cbevrolet-DuMant deal enabled both parties to wit-ness the deal though two -hundred miles sepaeated them. Chevrolet executiveswere in Washington while seated here in New York were Samuel H. Cuff.WARD manager, Dr. DuMont, president of Mont, Win Case. v.p. Campbell -Ewald (Detroit), and Leonard F. Cramer, v.p. DuMont_

RocoivorsBiggest news in receivers will be the introduction

within the next few months of a new type of projec-tion model based on direct projection through a plasticlens. Set is supposed to be considerably cheaper andbrighter than present projection models.

It is rumored that Philco will probably spring thisset early in '47 with the possibility that Farnsworthwill demonstrate their version shortly after.

Latest figures on production up to the end of theyear show RCA with 15,000 sets and Viewtone with3,000. DuMont will deliver only 500 of their large setsbecause of cabinet shortages and slow deliveries on oneof the component parts. Only factor holding up de-livery of Farnsworth 10 -inch tube direct viewing re-ceivers is cabinets. However, 10,000 Farnsworth setswill be delivered before the end of January. Shortlyafter the first of the year at least three other majormanufacturers will start delivering receivers. No spe-cific dates have been announced as yet.

RCA Victor broke a newspaper campaign in NewYork, Chicago, Philadelphia, Newark, Camden, Albanyand Washington. In spite of inadequacy of dealertraining, sales will be ahead of production for sometime. (See report on page 15). In an attempt to per-form essential, if belated, training Dave Wagman,sales manager of Bruno, New York, distributors ofRCA, will insist that all salespeople handling tele-vision attend classes given by them . . . if dealers wishto retain their tele-franchise.

Latest set manufacturer to announce television plansis Scott Radio Laboratories, Inc., who has displayed atelevision receiver which will be ready for spring de-livery.Network Affiliates

Already underway is the fight for network affiliates.DuMont has launched their campaign based on aninitial film network. Plans are to film DuMont showsoff face of the cathode ray tube, and then syndicateprograms under network set-up. Paul Mowery, ABC'stelevision head, is actively pitching to ABC affiliatesand new applicants, although net still has no facilities.CBS naturally in line with their color policy has dis-couraged their affiliates from going into black andwhite television. NBC whose tele-network plans arestill in formative stage has made its first commercialtie-up in recent deal with WPTZ, Philadelphia. Atpresstime a revolutionary relay system, "Photovision,"was demonstrated by Dr. T. T. Goldsmith of Allan B.DuMont Laboratories. System employed light beaminstead of radio waves for transmission of light andsound. Company claims many advantages over presentmethods of relaying, i.e., coaxial cable and radio relay.Sports Ti. -up

Indication of behind the scenes scramble for majorsports events was the tying -up of the Jamaica Arenaboxing and wrestling television rights by the WilliamMorris Agency. Agency then sold deal to DuMont.

First major ball team to sign on the line on a regularschedule was the Brooklyn Dodgers with CBS. CBSalso with Ford have tied up all events at MadisonSquare Garden with the exception of prize fights,which have been NBC's and Gillette's for many yearsnow. Philco has an exclusive on the University ofPennsylvania football games now being sponsored byAtlantic. WBKB is active in the Chicago area and havebeen televising the Northwestern football games. Onthe coast Television Productions and Don Lee haveboth televised tennis matches, and Television Produc-tions has lined up the L. A. Dons pro football team.

On Election night WCBS-TVadded a horse to the traditionalrace between the donkey and theelephant. They synchronized elec-tion returns with a remote pick-upof the second night of the HorseShow from Madison Square Gar-den. Ironically enough top -scorerfor the American team that nightwas a horse named "Democrat."Persons and Places

Lee Cooley has been appointeddirector of television at McCannErickson following his resignationfrom Ruthrauff & Ryan. Lee hashad a lot of experience with themedium having pioneered the week-ly video show for Lever Brothersand previous to that was televisionprogram director at Don Lee. . . .

The Compton Agency has had tworesignations from their tele depart-ment, Wyllis Cooper is going withWynn Wright Associates, andJames Manilla to the EastmanKodak Company, Rochester. . . .

Fred Ullman, Jr., president ofRKO-Pathe, will look after RKOTelevision during Ralph Austrian'sspecial assignment in Mexico City,where he is to coordinate produc-tion facilities at the new RKOStudios. Job is expected to takeseveral months. . . . NBC SportsAnnouncer Bob Stanton leaves NBCradio to concentrate solely on teleannouncing for WNBT. . . . PaulKnight has been appointed tele-vision director of Benjamin Eshle-man Company . . . Leonard Holehas been named asst. director ofWCBS-TV.

Every night over WABD viewerssee a one -minute trailer calling at-tention to that week's current of-fering in the station's weekly show-ing of a full length feature who -done -it film on the new Crime ClubSeries. Pictures are all current re-leases which were produced recent-ly by Universal Pictures.

If you see somebody aroundWCBS-TV trying to roll a cigarettewith one hand while signing letterswith the other hand it's Tony Minorback from his three weeks of duderanching in Wyoming.

Snow engulfed the W6XYZ trans-mitter house on Mt. Wilson duringa recent storm. The maintenancecrew was snowed in, and all powerand telephone lines were down. Theonly communication was via radio.Ray Moore the engineering super-visor climbed 41/2 miles on snow-shoes to get to the snow -boundcrew. They finally got an emergencyDeisel generator working, and thetransmission continued. The snowmust go on!

LEGEND: TELEVISION CITIES

IStations in ? Stations underoperation. construction.

MOTION PICTURES Can Give YouTELEVISION Market CONTROL!

New television stations are springing up all over the map.But only film can develop new television markets foryou ... instantly... effectively... economically.

Only Film makes possible selective marketing, withoutcostly individual programs-expensive rehearsals-tele-phone line charges-time zone differentials.

Only Film can guarantee repeat performances of uni-font quality-identical selling messages.

Only Film will assure you perfect lighting-absolutefocus-flawless dialogue.

In TELEVISION......FILM removes the question mark.

Now available for sponsorship . .. exclusiveSeries. In 13, 26 or 52 week installments.

Write for details and arrange for private screening.Send for booklet:"Film - The Backbone of Television Programming."

Te ered

RIO TELHISIOICORPORATION

Dept. TN4, 1270 Avenue of The Americas, N. Y. 20, N. Y.4 Radio-Keith-Orpheum Corporation Subsidiary

*Copyright U. S. Pat. Off.

December. 1946 5

WASHINGTON

THOUGH there are indications that FCC may be-come a _handy punching bag for several GOP

investigating committees when the new Congress con-venes, the political shift on Capitol Hill is expectedto have little or no impact on television.

The most immediate effect, according to observershere, will be a slowing down of FCC activities all upand down the line as the Commission prepares to fendoff attacks from hostile probers. So far, threats haverun the gamut of a possible legislative reorganizationof FCC, to almost certain probes of the controversial"Blue Book", political favoritism in the New Dealagency, and the Commission's decision-as one an-tagonist described it-"to kick FM upstairs."

An FM investigation will, of course, have repercus-sions on television. For any efforts to recapture the42-50 megacycle spectrum for FM-as suggested bySenator Charles Tobey-would dispossess television ofits No. 1 channel, now located between 44-50 mc.

At the moment, however, that proposal is only of:academic concern to TV licensees. For it would notupset any "de facto" video assignments. Significantly,FCC has reserved the No. 1 TV band for "community -type" stations and none of the "wee-watters" has yetmade its appearance in television.

Color HearingsTelevision enthusiasts, however, think it fortunate

that FCC has chosen to draw the "color line" in tele--vision this month-well in advance of any excitementwhich might be generated on Capitol Hill.

Predictions still hold that FCC will hold several dayshearing on the color question beginning December 9and then recess the proceeding until more evidencepro and con is before it. An interim order and general'policy statement on TV, they believe, will then beforthcoming before the Christmas holidays.

The entire FCC bench will take time off to presideover this all-important hearing. Principal responsi-bility will, of course, fall on the shoulders of Assistant'General Counsel Harry M. Plotkin, who will serve asCommission Counsel.

Plotkin is well prepared for this particular assign-ment. He has been FCC's legal mentor on TV prob-lems since he prepared and acted as Commission attor-ney during the general allocations hearings of Septem-ber -October 1944. Those hearings were, of course, thebasis of FCC's original blueprint for the postwar radiospectrum. Plotkin also masterminded the final versionof the rules governing TV operations and worked withFCC engineers in revising the Standards of GoodEngineering Practice as they apply to video.

More important, he tried the first TV hearing forWashington, D. C. FCC's decision here is regardedas a precedent for future actions in contested cases."How Do You Like Your Color?"

What'll you have? Simultaneous (RCA) or sequen-tial (CBS) color pictures? That's the $64 questionFCC will have to decide in December. And make nomistake about it, RCA's well-timed demonstration ofan all -electronic color process has complicated rather

Entire FCC bench to sit in on color hearings ... UHFtests ... new station grants-by Dorothy Holloway

than simplified the TV situation. Although no briefsor appearances had been filed as we went to press, Du -Mont, TBA and one or two set manufacturers reportedthat they would enter the contest in support of RCA.More Room on the Upper Floors?

Those glowing predictions that the ultra -high TVbands between 480 and 920 mega would be roomyenough to accommodate many hundreds of tele sta-tions doesn't stand up, according to word from someof the engineers here.

At least, they say, some preliminary tests with thecompass and slide rule fail to bear out such forecasts.They claim that the ultra -highs will accommodate agood many more stations than the present bands butthat the big cities like New York, Chicago and Phila-delphia will probably still be limited to seven or eighttransmitters apiece. Unless, of course, the spectrum isstretched or technological advances narrow the band-width required for the rainbow transmissions.Los Angeles TV Imminent

As we went to press, FCC was readying a decisionon the seven remaining contenders for Los Angeles TVstations. Five-including Paramount's Television Pro-ductions, Inc.-allegedly were unquestionably due forgrants. On two other bidders, FCC was hedging as amatter of policy. These were the Don Lee Broadcast-ing Co. and Earle Anthony's station KFI. Both appli-cants are awaiting hearing on the license renewals oftheir standard broadcast stations. (Don Lee net be-cause of alleged violation of the FCC's chain broad-casting regulations; KFI on engineering counts andbecause of protests lodged in Washington against thestation's firing of six commentators over 18 monthsago.)

Even as a post-mortem, the FCC's reasoning here isundoubtedly significant. If the Commission is com-pletely consistent it will have given both companiesgrants. For despite the fact that William RandolphHearst's standard station WBAL, Baltimore was duefor hearing on its license renewal, Mr. Hearst won atelevision permit in Baltimore last July-painlesslyand without even a hearing.

FCC officials, however, are quick to point out thatthe Commission's first aim is to bring television tothe large markets. Baltimore had no video service ofany kind and a grant to Mr. Hearst and two othercompanies was made to do just this.

In Los Angeles, however, with five stations author-ized, FCC might figure that two more or less wouldnever be missed at this time.New Station Grants

Chicago picked up its fifth video grant this monthwhen FCC awarded a TV permit to Col. Bertie Mc-Cormick's Chicago Tribune station, WGN. WGN willuse video channel No. 9 and locate its tower atop theTribune building in downtown Chicago. Balaban &Katz station WBKB is now programming regularlysome 25-35 hours a week. And building permits in theWindy City have been issued to NBC, ABC and Zenith.

In San Francisco, Wesley Dumm's Associated Broad -(Continued on page 20)

Television

35 -mmSYNCHRO-U-E

PROJECTOR

/COO-UTE*NW'

SHUTTERLESSFILM PROJECTOR FOR

TELEVISION STATIONS

For better film programming in your televisionstation, General Electric offers the new simplified

16- and 35 -mm Synchro-Lite projectors -television's greatest single advancement infilm projection technique.

CHECK THESE FEATURES

New Achievement in Pre-cision Timing - Super - brilli-am pulsed light source, elec-tronically timed by station syn-chronizing generator. No ro-tating shutter.

Greater Simplicity-Noshutter mechanism. Fewermoving parts.

Higher Peak Illumination-More light-less heat.

Better Efficiency -Lowerpower consumption. -Light-on" time only 4% of cycle,approximately. Sr caller driv-ing motor. Quieter Operation-Few-er MON ing parts, less noise andvibration. Non -Critical Motor-Phas-ing-Phasing tolerance manytimes that of conventionalsystems.

For the quick facts on G -E Synchro-Lite projectors call yournearest G -E broadcast sales engineer or write the ElectronicsDepartment, General Electric Company, Syracuse 1, N. Y.

See Television in action at General Electric's stationW'RGB in Schenectady now. Ask your broadcast

sales engineer to plan your visit.

40 HOW G -E SYNCHRO-LITE PROJECTOR WORKS!

Capillary lamp is timed to flash during flyback time of thescanning beam in the pick-up tube. Width of the light pulseis adjusted so that it is less than the vertical blanking period.With this system, mechanical shutters are unnecessary!

GENERAL ELECTRICDecember, 1946 7

-00

0

C

IA

Ia)

U4'

-

DETROITBlack lines indicate both the primary and secondary cove age in the Detroit area which can be given bya 25 kw station, assuming that the antenna is 500 feet high and located in the center of the businessdistrict. Dotted lines indicate the trading area. FCC has allotted five television channels to th2 city.

MOST encouraging news for prospective televisionoperators is WWDT's experience in selling about

50% of their 28 -hour weekly schedule before their offi-cial opening on the Detroit pix-waves. And to make iteven more impressive, this record was chalked up in acity that was receiverless until recently.

With the station scheduled to go on the air beforethe first of the year, sponsors already signed up includethe U. S. Rubber Co., J. L. Hudson Company, Chevro-let Motor, Norge, Grinnell's, Detroit Edison, ErnestKern Company, Sam's Inc., and Harry Suffrin. Time

signals have been contracted for by Bulova, Elgin,Longines and Waltham. And at the interested stageare Ford and Plymouth Motors.

Hourly rate has been set at $250, with regular fre-quency discounts applying. Announcements are peggedat $25, with production costs additional on programsrequiring production effort.

Televising will originate in a remodeled studio,2400 square feet, on the third floor of the parent sta-tion, WWJ. All programming will emanate from thisstudio until more permanent facilities have been com-

8 Television

pleted in the Detroit News building across the street.Plans, already in the blue print stage, will call for theerection of a new building to house the station. An-tenna has been erected on the Penabscot Building-tallest in the city.

With the propcsed programming schedule including30f/c live talent, 40% remote and 30% film, stationwill use three iconoscope-type cameras, 2 film cameras,and 2 image orthicon cameras, as well as 2-16 mm.film projectors. Eddy lights will furnish illumination.Station plans to program 28 hours a week from thebeginning on a 50% commercial basis.

PersonnelIn preparation for THE DAY, members of the WWJ

staff have been gaining practical experience the lasttwo years by making study trips. It's also felt thatthe quarter century of broadcasting which WWJ hasin back of them will be put to good purpose in thisnew medium. In addition, technical television expertshave been added to the staff.

Organizational chart for the station shows their keypersonnel doubling in brass between their radio andtelevision operation. William J. Scripps is director ofradio and television; Harry Bannister, general man-ager of radio and television; Edwin K. Wheeler, As-sistant General Manager of Radio and Television; E.L. "Ty" Tyson, Assistant Manager (Personnel) ; Har-old Priestley, Business Manager; Lanny Pittman,Publicity Manager; E. J. Love, Technical Director forRadio and Television; Leonard Spragg, Chief Engi-neer; Albert Allen, Studio Supervisor; Mel Wissman,Director of programs for radio and television; JamesEberle, Assistant program manager, plus a growingstaff of producers and engineers.

To familiarize Detroiters with television, WWDThas installed approximately thirty receivers in thecoverage area. Sets are being placed in prominentspots throughout the city and it's estimated that with-in two months most of the populace will have seentelevision.

System will not only work advantageously for thestation but will lay the groundwork for building aready consumer market for receivers when they dostart arriving in Detroit. According to promises givento Harry Bannister, general manager of WWDT, byset manufacturers, 2,000 receivers are to be shipped tothe Detroit area by Christmas, with the total reach-ing 20,000 to 25,000 by May 1st. Once production getsinto full swing, supply will, of course, meet demand.

During the New Post War Products exposition heldin Detroit, WWDT transmitted daily programs whichwere picked up by 18 receiving sets in the expositionhall. Over 100,000 people attended and there werethousands of inquiries as to when and where televisionsets could be purchased.

OutlookDetroit, ranking sixth in sales rank, has a popula-

tion of 2,295,867, although coverage area of the sta-tion will reach over 31/2 million people. With five chan-nels allotted to Detroit by the FCC, pre -hearing with-drawal epidemic last year, cut the applicants down tothree. ABC acquired the King Trendle grant with theacquisition of the station and plans to be on the airin mid -1947. Grant to United Detroit Theatres, a Para-mount subsidiary, is being held up, pending FCC'sfinal decision on Paramount's interests in television.

Here briefly are the plans of both the AmericanBroadcasting Company and the United Detroit Thea-tres Corporation. taken from the applications filedwith the FCC.

United Detroit Theatres CorporationAddress -1600 Stroh Building, Detroit, MichiganOfficers-E. J. Hudson, PresidentOwnership-controlling stock (74.35%) owned by

Paramount Pictures-remaining 25.65% ownedby Balaban & Katz (Paramount Pictures sub-sidiary.)

Estimated Total Costs-$358,000Estimated Operation Costs per month-$68,460Breakdown of programming plans-remote, 20%;

studio production, 50%; film, 30%Channel-No. 5Antenna

Height, sea level -1149.7Height, ground level -527.7

Transmitter location -5057 Woodward Avenue, De-troit

Location of Studio -2111 Woodward Avenue, DetroitMisc.: Two Paramount subsidiaries-Balaban & Katz

and Television Productions-now operate tele-vision stations: WBKB (Balaban & Katz) Chi-cago; W6XYZ (Television Productions) LosAngeles. Final decision on application is beingwithheld by FCC pending determination ofParamount's interest in television.

American Broadcasting Co., Inc.Rockefeller Plaza, New York

Officers-Mark Woods, PresidentEstimated Total Costs-$328,070Breakdown of programming plans-Studio, 42%; re-

mote, 41%; film, 17%Channel-No. 5Antenna

Height, ground level -500 feetTransmitter location-Joy Road & GreenfieldPower, aural & visual-aural-3 kw; visual -4 kwPopulation -2,295,867Size of area -483 square miles-primary; 1920 square

miles-secondaryLocation of Studio -8415 East Jefferson AvenueEngineering Consultant-Frank G. Kear, Washington,

D. C.Misc.: Grant was acquired by ABC with the purchase

of the King Trendle radio interests. Both trans-mitter and studio for television will be on thesite of the AM station, WXYZ. Paul Mowery isnational television director.ABC is also actively lining up accounts and arecent announcement stated that the U. S. Rub-ber Company, General Mills, Inc., Chevrolet andthe Campbell -Ewald Company have contractedto sponsor programs over the Detroit outletwhen it begins operations.

WWDT-The Detroit NewsTHUS TO WWDT falls the distinction-and the re -sponsibility-of being the first station in highly

industrial Detroit. And from their pre -opening start,it would seem that they're well on their way towardprofitable television operation.

December, 1946 9

REPORT ON

Opening of filmcommercial . . .

The sponsor'sname appears

The car appears inthe crystal ball . . .

Dissolve to car,as a close-up endsthe minute film.

r 111-1E NEW Model T for Ford is Television Sports.I Keyed with the theme that "There's a Ford inour future," the much exploited Ford crystal ball is

pushing up the future several notches and bringingthe Ford to televiewers of WCBS-TV, WABD andWBKB. And to get the viewers to look at that Ford,some top sporting events have been dangled beforethem.

Commercial KillerTypical of the care which has gone into the com-

mercial treatment is J. Walter Thompson's innovationof stationing a "commercial killer" at all telecasts. Inorder to avoid the possibility of interfering with actionduring a sportscast and the danger of annoying theviewing audience, agency rep has authority to kill thequarter time commercial if it interferes with theaction.

With a regular schedule over three stations, com-mercial requirements ran high. First ones used wereillustrated cards but this was strictly a stop gap. Nowthe bulk of the commercial is on film because theagency believes that film is more practical for theirproduct, prevents error, is portable and can be sentfrom station to station with the minimum trouble.Bulk of film is shot on 35 mm. with some on 16 mm.stock. Thus far, six one -minute movies have been shotspecifically for television, but a good deal of the foot-age used has been taken from the Ford film library.Here's an example from an agency directive of a com-mercial made from film clips:1. Cut from 5,000 foot film following two commercials:

a. Story on assembly -5 minutes.b. Story on test tract -5 minutes.c. Six capsule versions of each of above -1 minute.Once the above film is made up we will need narra-tion for it.

2. Have ready Monday, October 21st, a cut film storyon the Blimp launching at Lakehurst. This will runthree to five minutes.a. Need narration for this film which can be viewed

Monday.Naturally close-ups of the car require new footage

since car models change every year. And one of thestrong points in selling cars has always been theirannual restyling. Here is an example of a Ford minutefilm:

Minute Film Script

ON SCREENNew Ford-goes throughgateComes out on road, stops.

Live studio shot View of grilleat WABD. And front end

SOUNDNow for a quick look atthe great new car every-one's raving about - thenew Ford!Isn't it swell -looking?From bumper to bumper,inside and out, the new

10 Television

FORD'S COMMERCIALS

By SIDNEY R. LANE

View of seats, inside

Side view of exteriorWomen come near . . .

. . . Open door, get inand drive away

Car moves along roadPicnic scene

Women get out of car

View of front end,front seat

Girl in riding breechesgets in

Car moves along road

Ford's Out Front in thestyle parade! Seats aresoft and wide . . . plentyof room!

Brakes are king-sized ...self -centering for safe,sure stops.All this beauty - all theeconomy of new 4 -ringpistons and balanced car-buretion - are yours inevery Ford. Whether youchoose the hundred horse-power V-8 or the brilliantninety horsepower Six!Regardless of price, onlyFord offers you thischoice of two truly greatengines! Yes sir, the Fordin your Future is wayOUT FRONT!

END TITLE: See This Great New Car At YourFriendly Ford Dealer's.

Studio CommercialsLive commercial is used at the half or, the WABD

telecasts of the Yankee pro football games-with a"live" Ford on the studio floor. About three minutesis allowed for these presentations as there is general-ly less concentrated selling in this type. DuMont's fourcameras are used to televise the skits. Here's an ex-ample of one of these from the script:

Betty on telephone: "Ruth? This is Betty. Big news!Our Ford dealer just phoned that our new car hascome. Want to go over with me to pick it up?" (Cutto Ruth at phone.)

Ruth: "Golly! Aren't you thrilled?" (Cut to Bettyat phone.)

Betty: "I'll say!" (Cut to Ruth at phone.)Ruth: "It would be exciting enough to get any new

car . . . and here you are with a Ford . . . the prizeof the lot. Okay, I'll meet you right away down at theFord dealer's." (Dissolve to medium shot; Carr, asdealer, beside Ford.)

WBKB places their camera in the Southwest Tower of DycheStadium to pick up the Northwestern football games.

December, 1946

Carr: (quick wipe with rag) "Whoa there Ford!Stand still now. We never have to wait more than afew minutes for a new owner to arrive." (Two girlsenter.) Pause. "Well, good morning! Didn't take youlong to get here. Here's your Ford, Miss Jackson."(Cut to 2 shot of girls. Follow them and dolly back totake in Carr.)

Ruth: "Oh Betty-it's stunning. And so big!"Betty: "Have a look at the inside, too. Don't you

love it?" (Ruth looks in.)Ruth: "It's elegant! My, those seats look comfort-

able!"Carr: "They sure are!"Betty: "Is it all ready to drive away?" (Cut to close-

up of Carr.)Carr: "All set. And be sure to bring it back after

300 miles for a check-up, won't you?" (Cut to close-upof Ruth.)

Ruth: "You know we have an old Ford, Mr. Carr.Bought it from you before the war. With winter com-ing, I suppose I ought to bring it in and have you lookit over." (Cut to Carr and Ruth.)

Carr: "Yes, ma'am! You certainly should! We'rehere to keep a future in that Ford of yours! Eddie,come here a minute, will you?" (Dolly back slowlyas head mechanic appears.) "This is Mr. Williams,ladies. Eddie-Miss Davis has a pre-war Ford andwonders if we're the people to get it in shape forwinter driving."

Eddie: "You bet we are-and here's why" ... (Cutto full shot as they cross to counter display-no linesas they walk-Cut to close-up of Eddie as he speaks.)"It pays to bring your Ford back home for service.Offhand I can give you at least four good reasons-allimportant. For one thing, we have genuine Ford partsand accessories." (Cut to close-up of Ruth.)

Ruth: "My! What a lot of them!" (Cut to shot ofdisplay and "sell it.")

Eddie: "Yes, we have everything from ash trays toaxles. Precision made-so they'll fit your Ford per-fectly!" (Cut to Eddie.) "We want you to get the bestpossible satisfaction and service from your car, nat-urally." (Cut to full shot. Girls turn and gaze at Fordand slowly cross to it.)

Ruth: "It's beautiful!"Betty: "It's gorgeous-and all mine!" (fade out)Cross to it, hand in hand, enraptured. Cut to Eddie

and Carr in close-up. They grin at each other. Cut toclose-up cf Eddie. (Carr crosses slowly to stand nextto girls.)

Eddie: "Our mechanics are Ford -trained - theyknow that Ford engine like the palm of their hands.And when they work on your car, they use factory-apprcved methods-and special Ford equipment! The

pay-off for you-when you bring your Ford back homefor service-is that it will run more smoothly formonths to come. Have more resale value, too." (Dollyback slowly to medium shot.)

Ruth: (to Carr) "Could I bring my Ford in herenext Monday, Mr. Carr?"

Carr: "That will be fine-you'll beat the rush we'rebound to have with the first freeze." (Carr holds dooropen and girls get in.) Cut to close-up of Betty atwheel.)

Betty: "Oh Mr. Carr! Oh Mister Carr! It's won-derful!" (Cut to close-up of Carr, he turns and looksdirectly at camera.)

Cali.: "Dennis, Dennis James, take it away at Yan-kee Stadium!"

So proud is WABD of the fact that they are largeenough to present a live commercial with a Ford inthe studio that they have the following sign on thecar for the benefit of studio visitors.' "Because the Du -Mont studios are the only studios in New York largeenough to do live automobile commercials now there'sa Ford in your television future!" All games telecastover DuMont are fed to Washington and Philadelphia.Rehearsal Procedure

Many people think that all there is to covering asport event via television is to send out the camera-men in the manner of a newsreel. But this is not sowith a commercially sustained program, when every-thing, especially the timing of the commercial mes-sage, has to be worked out in advance. Naturally youcould send a crew with remote equipment and expectthem to give you quick results, but if you were think-ing of the show with the idea of getting your com-mercial message across you need split second timing,and the only way to get that is with rehearsal.

Here is a schedule of one week's rehearsal atWCBS-TV:

Commercial Deadline for Ford Motor Co. ShowsMonday12:00

Tuesday10:30-12:30

10:30

1:30

3:00- 3:45

4:00- 5:00

Ford commercial copy to CBS (D-20)

Ford, CBS and agency conference oncommercials (D-19) (D-12) (D-3)Ford commercial film for Tuesday andWednesday show on CBSFord commercial film for Tuesday andWednesday show to cutting room for as-sembly and screening by CBS.Ford non -facilities rehearsal for Tues-day show.Ford facilities rehearsal for Tuesdayshow-film to cutting room for finalcheck and storage.

John F. Davis, Ford vice president in charge of sales and advertising:"In our opinion. television has demonstrated itself as a practical ad-

s ertising medium and will rapidly reach larger and larger numbers ofautomobile customers and prospects. In bringing the television -viewingpublic these important sports events, Ford will render them a real sec% -ice. At the same time, the company assumes leadership in the automobileinlu:try in the use of this dramatic medium for the presentation of auto-mobile models. where the visual element is so important. -

12 TPlevision

7:00- 7:30

Wednesday10:00

10:00-10:45

10:45-11:45

Ford final rehearsal before air for Tues-day show.

Ford commercials to Mr. Hole for clear-ance.Ford non -facilities rehearsal for Wednes-day show.Ford facilities rehearsal for Wednesdayshow - film to cutting room for finalcheck and storage.

Basketball one of many sports events, being relayed oythe WCBS-TV remote crew from Madison Square Garden.

4:00

7:00- 7:30

Thursday11:00

12:00

Ford commercial film for Friday, Satur-day and Sunday shows to CBS to cuttingroom for assembly.Ford final rehearsal before air forWednesday show.

Ford commercial film for Friday, Satur-day and Sunday screened by CBS.Ford commercial copy from Mr. Hole toOperations.

December, 1946 13

Friday12:30- 1:30

2:15- 3:10

7:00- 7:30

Saturday1:00- 1:30

Sunday1:00- 1:30

Ford non -facilities rehearsal for Friday,Saturday and Sunday shows.Ford facilities rehearsal for Friday,Saturday and Sunday shows - film tocutting room for final check and storage.Ford final rehearsal before air for Fri-day show.

Ford final rehearsal before air for Satur-day show.

Ford final rehearsal before air for Sun-day show.

Program FareFord's schedule has been an ambitious one. Main

contract was signed with WCBS-TV for pick-up of allevents originating in Madison Square Garden, with theexception of boxing. This was supplemented duringthe fall season with the Columbia home football gamesfrom Baker Field and the Dodgers' pro games fromEbbets Field over CBS; the Yankee pro games overWABD, and seven Northwestern games from DycheStadium over WBKB. For the pick-up of the games,image orthicon equipment was used by all three. Du -Mont and CBS cameras were stationed at the fifty -yard line. WBKB, however, placed their cameras inthe Southwest tower of the main stand, getting a cor-ner shot from a high angle. (Details of football cover-age given under Programming.) But rodeos, basket-ball, horse shows, hockey, have also gone out over theCBS pix-waves, with more in the offing. Here are someexamples of the treatment given them.Hockey Games

The opening game between the New York Rangersand the Boston Bruins at Madison Square Gardenended in a tie score for everyone but Ford. Since thegame lasted for two hours, there were lots of oppor-tunities to get across the commercial message, andFord is to be congratulated for not overdoing it.Opening commercial of the game was a film which hadcuts and dissolves of the familiar crystal ball, andreiteration of the phrase "There's a Ford in YourFuture." After this film which ran about 55 seconds,the voice of Bob Edge was picked up as the televisioncamera panned the arena, with commentary abouthockey in general and some pertinent informationabout the game to be played. When the action beganWin Elliot took over, and did an expert job of follow-ing the play. He gave a fast lucid running account ofthe game, which coupled to excellent camera action,kept the viewer with the puck at all times.Integrated Commercial

A few times during the course of the game a shortsnappy verbal commercial was slipped in with a lighttouch. For example, after a bit of fast action "Thesepuck -chasers are as quick on the pick-up as, guesswhat . . . the new Ford". At another point "He slipsaway like a new Ford through traffic," "Look at thatsudden stop . . . just like the kind you get with Ford'sKing-sized brakes!" None of these remarks were over-done.

At the end of the first period, another Ford one -minute film was presented to the viewers whichbrought out facts about the mechanical excellence andsmart body styles of the new models. Camera thenpicked up the announcer Win Elliott and Bob Edge,

who pointed up the local color in the Garden as thecamera panned around the arena. Then Elliot tookover with an explanation of the fine points of hockey,and with the aid of a diagram explained the importantrules governing the game.

One of the most engaging features of the telecastover WCBS-TV was the conversation between WinElliot and Bob Edge, who can almost create as manychuckles in their dialogue as Amos and Andy. Theymake a good combination and their good-natured wit -clashes are a welcome break between time-outs andcommercials. The cameras at Madison Square Gardenare fixed in such a manner that they may be swungaround to pick up this engaging duet instantly. Thoughthis has all the appearance of just happening Bob Edgeand Win Elliott have an advance plan of the time andtopic for these informal breaks. In other words ittakes advance thought to create good spontaneity.Horse Show

Another event picked up from Madison Square Gar-den was the National Horse Show. Commercial forthis event, in addition to the regular film opening andclosing, employed slides which were mostly cartoonsfrom current Ford display advertising. A set of sixslides were prepared, and these were projected over aBaloptican. On hand to hypo the style angle was LucyCochrane. Jack Creamer, author of many equestrianbooks, was employed to give authoritative interpreta-tion of the main events.

There has been much favorable commendation aboutthe manner in which the WCBS-TV remote crew hasbeen handling the pick-ups. The personnel responsiblefor this job consists of Leonard Hole, director ofplans; Bob Edge, director of sports; Bob Bendick,director of news and special events; and HerbertSwope, Jr., who directs the mobile crew. The mobilecrew consists of a master control man, two cameracontrol men, one sound man, one director, and anassistant director, plus three porters. Their coverageof all events has been kept to a high level.Extra -Curricular

Smart promotion stunt has been worked out betweenthe Ford Dealers cf Southern California and W6XYZ.Deal has been worked out with Ford for experimenta-tion with live commercials on the telecasts of the LosAngeles Dons professional football games. Ford gavethe Dons a new car which the Dons in turn presentedto the lucky program holder at the last game of theseason. In exchange for this, the car tours the fieldduring the two quarters announcing the award-withFord's field tour picked up by the W6XYZ cameras.As station is experimental, no charge can be made-but both the station, Ford and the local office of J.Walter Thompson have laid the groundwork for sportstelecasts.Evaluation

In an attempt to evaluate the telecasts, a pair ofwhite footballs with the autographs of the Yankee andColumbia teams are being offered over WABD andWCBS-TV, respectively. They are to be given awayto the fans who write the best letters on why theylike the Ford television sportcasts, and what sportsevents they would like to see on future Ford shows.Response has been high-sufficient proof that Ford ispleasing the viewers.

The fact that the Ford Motor Car Company is goingto increase its television coverage as other stationstake to the air is indication of the faith the companyhas in the effectiveness of the medium.

14 Television

SURE television sets are sellingnow. With at the most 25,000

receivers coming off the lines thisyear, there are sufficient people inthe trade plus the usual "first onthe block" customers to readily buyup triple this number of receiversin the 4 or 5 markets in which theyare now on sale.

But forget this ready market. Toboost circulation into the highcipher figures, means selling theman who has never seen a telecast.Present prices are hardly in thepopular price range. And isn't itreasonable to expect that some sell-ing will have to be done; that afew questions will be asked; that ademonstration will be a requisite?

Because we do feel that once anormal market exists, sets will haveto be sold, a member of our staffshopped for a television set, askinga few simple, non -technical ques-tions.

We didn't like the results-no oneconcerned with the future of the in-dustry could possibly like them.With production stalled now almosta year, manufacturers should havehad plenty of time to educate theretailer, and to get together withthe broadcasters.

With three stations now operat-ing in New York and seven slatedfor the city, the answer of the re-tail salesmen to our Mrs. Consumervaried from two to five operatingstations with thirteen eventually.With most of the top sports andnews events being televised regu-larly, film was stated to be the

Maybe somebody knows the answersto:

Why retailers have no idea how todisplay and sell television 'ets.

Why manufacturers have not edu-cated the retailer on such simplethings as programming fare; on

adjusting the test pattern, etc.

Why operating stations are notco-operating with daytime pro-grams to aid the sale of receivers.

Sets are being bought now-but theyare not being SOLD.

main programming fare. And de-spite eye witness synchronizer andpush button control ads, few sales-men could adjust the test pattern.

Manufacturers and retailers willprobably counter,

So What?All sets allocated have been sold,

haven't they?People are buying them, test pat-

tern or no test pattern, misinforma-tion or not, aren't they?

And there's still a greater de-mand than the supply will catch upwith for a time, isn't there?

The answer is YES-to all threequestions.

But we want to ask a few.Isn't it true that no selling effort

has been necessary to sell the smallquantity of sets available now?

And isn't this ready market onlya small percentage of the poten-tial?

Again the answer is YES-toboth questions.

But read the details on each call,before we go any further:

Ginibids"Do you have television sets?""Yes-this way."I was led into an office, com-

plete with a couple of desks andmore than a few busy people. Inthe far corner a television modelwas on display. There was no need

of a "Please do not touch" signhere. A couple of desks effectivelybarred the way.

The salesman started his spiel-"That's a ten -inch screen-$352plus $50 installation. RCA installsit and guarantees it for a year.Then there's a seven-inch modelwhich sells for $225, $50 installa-tion."

"Is there anything on now?""No, there's nothing on now.""How many stations are there on

in New York? Would I get manyprograms if I bought a set?"

"There's four stations now, butthere will be thirteen."

"Are they en the air often?""Why, they go on about 3:30 or

4 and keep going maybe till mid-night-a lot of different things-films, sports-lots of differentthings" .. . by that time I had beeneased outside the door.

"Well, will you take one now . . .

do you want to leave a deposit? Idon't have any of those sets youjust saw left, but I have two of theseven-inch left."

"I don't want to buy until I seea demonstration."

"A demonstration? A demonstra-tion? Lady, we don't have to demon-strate these things. Why the set yousaw is all sold out. I have two leftof the seven-inch. If you don't buyit, I'll have them both sold by to-morrow. Why, we don't have todemonstrate these things."

So before I was tossed out ofGimbel's eighth floor, because I hadthe nerve to ask for a demonstra-tion, I departed.

Bloomingdale's

"I'm interested in seeing a tele-vision set. Do you have them?"

"Yes-this way" . . . and I wasled into an enclosed room where aradio console model was being loud-lv demonstrated. The RCA set wason a table-decorated by a neatlypasted hand -printed sign reading,"Please do not touch".

The salesman pointed to it andsaid: "That's the RCA set." Weboth stood and looked at it untilthe silence got a little uncomfort-able.

December, 1946 15

"May I see how it works?" Hebent down and plugged it in.

"Is that all you have to do-justplug it in?"

"Yes, that's all."He pressed the button, fooled

with a few dials and the screenstarted to jump around with theWABD test pattern finally dancinginto view. He fiddled with the dialssome more and the pattern settleddown, content with merely balloon-ing from side to side.

"Does it always jump around likethat?"

"No. That's just interferencecaused by this other radio sethere."

"Are there many stations on inNew York? If I bought a set, wouldI get many programs?"

"No, you won't get much. Theydon't operate much. I think there'sabout two stations in New York. . . let's see, either two or three. Iguess there's three."

"Are they on often?""They're usually on at night.""What kind of programs do they

have?""Mostly film.""Just film? Nothing else?""Oh well, they have some other

things. They have some sports." Welooked some more.

"How much is this set?""$352 and then there's $50 for in-

stallation.""Oh, you have to pay for installa-

tion. I thought you could just plugit in."

"Yes, you can but you have tohave it installed first."

"I don't want to buy one until Ican see a program. When do youhave programs on?"

"You could come in some Thurs-day night. There are programs onthen."

"How long would it take to getone?"

"I don't know.""Well can you give me any idea

-would it be a month or twomonths?"

"We don't know. We don't knowwhen we will get deliveries."

"Do you have a priority list oranything like that?"

"No, but I could take your nameand let you know when they comein."

"I'd want to see a program firstbefore I decide. Do you have anyother models besides this one?"

"We have one for $2900, butthat's kind of high priced."

No effort was made to show it tome-guess I just don't look the$2900 type - so at that point Iexited.

Davega, 42nd Street and Broad-way

"Do you have television sets? 1saw them advertised and I'm inter-ested in buying one." Silently I wasled into a small room with the re-ceiver at the far end and four campchairs in isolated splendor. Hereagain the set seemed to be some-thing to look at with no effort madeto demonstrate it-or sell it.

"May I see how it works?"

"I don't think there's anythingon now." At which point he flippeda button and WABD again camejumping into view. He tried tostraighten it out and finally com-promised by turning the sound dialloud enough to deafen anyone. Hethen switched to WNBT and thatwas so hopelessly out of focus heturned it off and announced,"There's nothing on now."

"How many stations are there inNew York."

"Four.""Are they on often-if I bought

a set could I get programs fre-quently?"

"You'll get them wheneverthey're on."

"Are they on every day?""No, they're not on every day.""Well, what kind of programs

would I get?""Variety, film . . .""How much is this set?""$352-$50 additional for instal-

lation.""How soon could I get delivery on

this, if I wanted to buy one?""I don't know."

"Could you give me any idea-would it be a month or twomonths?"

"If RCA doesn't know madam,how can we?"

'' !

M a cy' s

In Macy's the RCA set and theU. S. Television set are placed in aroped alcove with a chain in frontto keep out the curious. Two cardslisted the selling features of theset and I was finally able to cornera salesman and ask for a demon-stration.

"I'm sorry it wouldn't do anygood to show you a set as we can'ttake any orders for them. RCA ranthat ad and then only alloted us acertain number. We were sold outthe first day."

"Well do you have any idea whenyou'll be getting some others in?"

"No, not definitely. It will prob-ably be after the first of the year."

"I do want to buy a set and I'dlike to know something about tele-vision. Are there many stations onin New York?"

"There are three stations.""Are they on often?""Yes, you can get something al-

most every night.""Well, what kind of shows do

they have on?""Oh, they do all sorts of things,

like rebroadcasts of the President'sspeeches, UN, sports, film, then youhave a murder mystery everyThursday night."

"Oh, as bad as radio?""Yep, just about. If you want me

to, I can take your name and put iton a list. We'll let you know whenone comes in."

"Well, I think I'll wait becauseI'd want to see a program before Idecide."

"Yes, come back some Thursdaynight when there's a show on."

Unnamed-for obvious reasons"I'd like to see one of those tele-

vision sets that were advertised re-cently."

"All we have is one-a sampleset and we have no idea of when wewill get deliveries."

"From the ads I read, it seemedas if you could just walk in andbuy one."

"Yes, I know. RCA ran a bigcampaign with absolutely nothingto back it up. They promised mefive sets before the end of the year-five and I could sell 500 if I had

16 Television

them. Now they are cutting usdown 20%-that means four sets.If I get those I will be surprised."

"Could I see it anyway-I dowant to buy one when they areavailable."

"There's no point in showing itbecause it will probably be fivemonths from now before we getthem. You better wait a while."

And so great is habit, I said"Thank you" and he said, "You'rewelcome."!

Davega, 42nd Street and Lex-ington Avenue

"1 s:«% the sign in the windowthat you have television sets. I'minterested in buying one."

"There's the RCA set there." Theset was on a table out on the floorand again the "Please do not touch"sign was pasted on the cabinet.Again we stood and looked.

"Is that the screen in there?""Yes.""Well could I see how it works?""There's nothing on now.""How many television stations

are there in New York?""There are five stations, but

there will be thirteen eventually.""Do they have many programs

on now? Just how much use wouldI get out of a set?"

"The programs start in lateafternoon and night, and they goon. You get all kinds of differentthings - films, sports, footballgames."

"How much is this set?""It's $352, $50 extra for installa-

tion, and that includes a year'sguarantee."

"How soon can I get one?""You'll have delivery by Christ-

mas.""Well, I don't want to buy one

until I see it demonstrated. If Icame in some night, could I see aprogram?"

"Well I'm sorry madam, we'renot open nights" ... and that endedthat.

W. J. Sloan*"Is that the television set which

has been advertised recently? I'dlike to see it." And see was theright word for the set was tuckedin a corner, partially hidden by ascreen and a chair. "We're com-

pletely sold out-we won't have anyuntil after the first of the year."

"I am interested in getting onethough-may I see how it works?"

"There is nothing on now.""Well is there much program-

ming being done now?""About fifty hours a week.""How many stations are there?""There are three on now but

there will be thirteen in NewYork." A pause while I gazed atthe set-from a respectful distance,of course.

"You can get football games onSaturday. Why don't you come inafter the first of the year ?" Andso I went my way.

Liberty Music Shop"Do you have the television set

which was recently advertised? I'minterested in buying one."

"Yes we have a sample set herebut there will be no deliveries untilafter the first of the year. First de-liveries were promised by Christ-mas-so you won't have too long towait."

The set was displayed on a tablein a well furnished room. "I'd liketo see how it works."

"I don't think there's anythingon now but we'll see. The programsgo on at night." He pressed the but-tons, and the weirdest flashes ap-peared on the screen. But he wasquick enough at getting the WNBTtest pattern into line. "That's atest pattern-isn't that a clear pic-ture?"

"Yes, but it seems to flicker abit."

"Well that's because they havetheir cameras trained on the pic-ture. We saw the football gameSaturday and it came through per-fectly-no interference at all."

"Are there many stations on inNew York? Would I get many pro-grams if I bought a set?"

"Seven channels have been allo-cated to New York . . . There arethree stations on now and fourmore will be on soon. They're put-ting up their transmitters now."

"How much is that set?""$352 plus $50 for installation

and a year's guarantee. That guar-antee is the best in the history ofthe radio business. RCA is train-ing technicians now to service thesesets. They will come to your home,decide where the best place for theantenna is, put it up and teach youand every member of your familyhow to operate it. Why a child offive could operate this set. If anyparts go wrong, RCA will replace

them-it's the best set ever made.They show sports and newsreels likeyou see in the movies. Do you knowthat RCA figured out that if youbought a ticket for every ithportantevent-all the games and fights thatyou'll see over television-it wouldcost you several thousand dollarsa year? And you can see them allover this set for only $400. If youlike, you could give me a deposit onone."

"I wouldn't like to definitely de-cide without seeing a program. Areyou open nights?"

"No but we are open Saturdayand if you're free Saturday after-noon come in." So that was finishedand he handed me his card.

Over in the corner I spotted twoDuMont sets-one with the cabinetopen to show the screen, the otherclosed.

"That's a television set too, isn'tit?"

"Yes, but that one is $1995 andthe other is $2495. Of course, theyinclude everything-radio, phono-graph . . ."

gvidently the DuMont sets andmink -coated customers go hand inhand-and as I didn't have a minkcoat, that finished the subject.

On the way out, another thoughtpopped into my mind. "What aboutcolor? I read something in the pa-pers a few months back about colortelevision, but it confused me a bit.Do they have sets that will give youcolor?"

A pause-then "Color is aboutfive years off."

"The stories I read though saidit was quite good-wasn't it CBSwho showed it?"

"Yes, I believe it was-but it'sstill experimental. It will be fiveyears yet."

So What? So-This!It's axiomatic that a product is

only as good as the salesman whosells it. But he can't do an intelli-gent selling job unless he knowswhat he's selling. Salesmen atMacy's and Liberty were correctlyinformed-which could just pos-sibly be the reason why they havescored such success in radio sales.

It's up to the store, the manufac-turer, and the station to make thatsalesman good.

Thousands and thousands of dol-lars are being spent on trainingtechnicians, on advertising cam-paigns.

Why not a few thousand on smallpamphlets which give the salesmensome help?

December, 1946 17

STATION OPERATIONS

W6XAOIN THEIR fifteen years of operating experience,

W6XAO, Los Angeles' pioneer television station,has chalked up over 7,000 hours of telecasting air time.Now that their participation in war work - whichdrastically curtailed their programming - is about atan end, station is girding itself for commercial opera-tion on a greatly expanded basis. Operated by DonLee, regional west coast radio net, station will takethe call letters of KTSL when the FCC okays its com-mercial application.

FacilitiesThree indoor studios and an outdoor one are in the

elaborate television plant located on Mt. Lee. 100 x 60feet is the size of the largest, with a smaller one,46 x 26 feet and an interview studio measuring 20 x 35feet. The building, 100 feet square and two storieshigh, is sheathed in copper, with the transmittersheathed from the remainder of the building.

Main studio floor is big enough to set up regulationcourts for basketball, tennis, volleyball, badminton,boxing ring, etc., thus permitting them to telecastexhibitions during the evening hours when the view-ing audience is larger.

Monitor rooms are located on the mezzanine floorbetween stages, thus giving an unobstructed view ofthe entire studio floor.

For outdoor scenes, which the California climatewould seem to favor, a pool has been built speciallyfor television use just outside the main studio. Land -

By MARY GANNONAlso available are special dissolve effects and frames

for billboards, plus duplicate synchronization so thatboth outdoor and indoor studio shots can be integratedin the same show.

Although Don Lee has built a considerable prop de-partment, easy access to nearby film prop storehousesgives them a wide range of selection. They have gottenparticularly good results with Shipman backing photomurals, which are easy to hire. These are real photos,with definite personality and good perspective.

John A. StewartProgram Director

Marjorie J. CampbellFilm Director

Harry R. LubckeDirector of Television

Harold W. JuryAssistant Director

scaped lawns and permanent illumination floodlightsare also included in this set-up.

Plus portable suitcase equipment for remotes, DonLee has two orthicon cameras and two iconoscopecameras (one of which is used for film). In addition,an expenditure of $153,463 is being made for sevenadditional cameras, monitors, studio -transmitter link,synchronizing equipment and mercury lighting.

PersonnelPersonnel set-up is a good example of utilizing em-

ployees for both AM and television operations. Whilethe television staff totals forty-seven persons, there areonly sixteen full-time employees. There are thirty-onepart-time employees of which twenty-two are asso-ciated with the AM operations, handling such jobs asaccounting, purchasing, publicity, specialized trades,maintenance and construction, such as carpentry andpainting. Presently, the station is programming on anaverage of two hours once a week.

Headed by Harry Lubcke, television director, sta-tion has a nucleus of experienced hands for personnelexpansion and training. New personnel are chosenfrom college graduates or well fitted technicians-"We try to get 'junior geniuses' and put them rightto work on something they can get their teeth into,"says Harry Lubcke. On the technical end, their pre-war procedure was to hire radio engineers and thenmake television engineers out of them. However, theyare finding that Navy men, who had television experi-ence during the war, are their best bets now.

On the talent and direction side, they feel that,while it's a wise move to hire people associated in

18 Television

some way with motion pictures, the lesser lights whoachieved training in little theatre groups, stock com-panies, etc., are often more productive and more flex-ible. In Harry Lubcke's opinion, the monetary dif-ference between movie and television acting is too aptto create a feeling of "lost prestige" for those motionpicture people who "go television."

Job specialization is the rule at Don Lee. While theydo practice a certain amount of job rotation, it is lim-ited within each particular group. For example, tech-nical operators may learn each other's jobs so thatthey can take over in case of absence, etc., but they donot go out on the floor and operate a camera. And con-versely a dolly pusher doesn't press the video controlbuttons.

Of this group, the technicians are IBEW and theannouncers and sound effects personnel are affiliatedwith AFRA.Program Planning

Programs are naturally planned as far in advanceas possible. Good example of this long range thinkingis their "Living Room Education" series, due to rununtil next June, which they are producing in coopera-tion with the Los Angeles city schools. Station feelsthat they have been fortunate in that the group is asenthusiastic as they are for television programming.In fact, they have found that the key to working with

production aspects, clear the music, set rehearsalschedules, get scripts ready, etc. One week beforeshow time, scripts are given to the key men-soundman, cameraman, stage manager-so they can read itover and get the feeling of the format. Then a simpli-fied camera script, with cued lines of dialogue or ac-tion and the camera cues required is prepared. Thiscan usually be gotten on an 81/2 x 11 sheet and isfastened to the camera. Facilities rehearsal ratio ona half-hour show is about 5 to 1.

Theodore I. DriscollStage Manager

Edward Kemble.issistant Program Director

Thornton W. Chew Gilbert P. WylandEngineering Supervisor Remote Pickup Engineeroutside groups usually revolves around forward look-ing personnel in these organizations. First step is togo to them and impress them with the proper spiritof television.

On their own side, their planning board passes onevery show from the viewpoint of how it will be done,whether it is a new television format and will con-tribute anything to the development of the medium-and, of course, examines it in light of the rigid self -censorship which they have imposed upon themselves.When it comes to comedy-which has been every sta-tion's biggest stickler to date-they feel that refinedslapstick, or mildly ludicrous comedy can be keyedwell for television without being offensive, and theysteer clear of burlesqued comedy which is not quite asuseful or applicable to television.

When a script goes into the production works, firststep, of course, is to delineate the whole approach andmake an outline of camera work, production ideas, setdesigns, etc. Biggest thing to watch here are the littlethings which make the difference between a televisionproduction or something which is made television bythe production department during rehearsals. Theproducer and assistant producer handle the general

There are no hard and fixed rules set up for camerashooting. Obvious procedure of having entrances madein long shot, then cutting to close-up; taking an estab-lishing shot in long shot, with cut to close-up are fol-lowed. But aside from that, their staff are free tochoose their own camera shots. Main thing, they feel,is to have in mind the thing you are trying to getover in each scene and then shoot the camera to get it.

Outside GroupsIn working with outside groups who come in with a

package, the Don Lee producer adapts it to televisionin rehearsal, and calls the signals in the control roomat show time. The guest producer is usually on thestage to assist with cues and acts as general liaison-although he may also be in the control room. Whilethey don't have any hard fixed or indelible rules inthat respect, they do mean to exercise reasonable con-trol over production. However, if they feel that the pol-icy of a guest producer is fully commensurate withthe policy and limitation of the television operation,.they are not adverse to giving him considerable rein.Experience has proved, however, that the guest pro-ducer seldom has had the experience to make the splitsecond decisions that often must be made during atelecast.

Sponsored ShowsSame policy of working with package shows or out-

side groups will probably hold true in working withagencies or advertisers on sponsored shows. Their ap-proach to commercial television will be one of workingwith the agency or sponsor and then evolving out ofnumerous shows the one which will best suit theirneeds.

In Mr. Lubcke's opinion, a skillful comic or briefstraight commercial is the way to handle the plug.He doesn't feel that seeing a product demonstrated atlength-similar to a sales demonstration in a depart-ment store-is good television. Naturally setting up

December. 1946 19

of a rate card and other formalities are being held inabeyance until the station goes commercial.

RemotesWith their proposed schedule under the 28 -hour pro-

gramming rule including 40% remote pick-ups, DonLee has their pre-war experience of such telecastingas the Easter Sunrise Service from the HollywoodBowl, the Pasadena parade, baseball, wrestling, fights,etc., from which to draw. Races, air meets, parades,benefits, festivals, conventions, animal shows, swim-ming and horsemanship exhibitions, county fairs,rodeos, bathing beauty contests, soap -box derbies, re-gattas, Easter promenades, Tournament of Roses Pa-rades, Sunrise Services, visits to industrial plants andvarious points of sociological, historical and currentinterest, plus on -the -spot interviews by the RovingReporter are all in the cards.

Beforehand preparation is as important for a re-mote as for a studio telecast. Their very first step isto contact the people at the site, explain the produc-tion and technical system, and acquaint them with thefacilities and type of cooperation they will need. Thissaves a lot of headaches later on. Next step, after thispreliminary groundwork has been laid, is to scout thetechnical problems for installation-the type of volt-age, best angles for pick-up, where the cameras shouldbe placed, how the equipment can be protected in caseof rain, etc. Then propagation tests to determine thetechnical feasibility of the pick-up are conducted, withas much pre -testing as possible done before the tele-cast.

ExperimentationIn addition to their active programming, Don Lee's

Harry Lubcke recently announced a three-year experi-mental program on an all electronic system of color.Research will be done on a method of combining colorpictures and sound on one carrier channel-or sand-wiching the sound waves simultaneously between thecarrier wave bands. A "soupstrainer" arrangement inthe home receiver will direct the sound to the loudspeaker and the image to the screen. Stationary colorfilters at the transmitter would eliminate any movingparts in either the studio or the home receiver.

In commenting on RCA's recent demonstration ofan electronic color system, Mr. Lubcke stated: "It ishighly gratifying to learn that another investigator inthe field of color television (RCA) has demonstrateda simultaneous method of all -electronic color television.Don Lee research in this field is upon the same method.The accomplishment of our contemporary supportsefforts to overcome the problem of optical -electronicregistration, one which must be accepted in return forfreedom from the mechanical revolving color filter inthe sequential method of color television, a methodwhich has been brought to demonstratable satisfactionby another contemporary (CBS)."

Looking Ahead . . .

At the Los Angeles hearings last May, W6XAO'sproposed programming schedule for a 28 -hour weekshowed that the station plans include 30 to 40% livestudio shows; 20 to 30% film and 40% for specialevents and sports. Breaking these figures down intoprogram classifications, 21% will be straight enter-tainment; 20% each will be devoted to special events;sports, and educational, cultural and self-improvementformats; 7% will be religious services and choir

music; 5% each will be given to children's programsand home, workshop and hobby formats; plus 2% foradditional public service, such as safety campaigns,community projects, etc.

For carrying on this work, their organizationalchart is broken down into the Planning Board, theProduction Unit and the Technical Staff. On the Plan-ning Board are Harry C. Lubcke, director of tele-vision; Jack Stewart, program director; MarjorieCampbell, film director; and the set designer anddecorator. It is their responsibility to decide on thetype and scope of programming, overall proceduresand censorship policies.

Excluding stage hands and page boys, productionunit numbers twenty. This comprises the programdirector and assistant; stage manager and assistant;assistant video director; video switching operator,control operator and two pick-up operators; audiooperator and assistant; sound effects man; film pick-up operator; two transmitter operators; mike boomoperator; assistant set decorator; light operator; andmake-up supervisor and assistant.

Headed by Harry Lubcke, there are nine in the tech-nical organization - an engineering supervisor andseven engineers - plus machinists, secretaries andguard -watchman.

Topographical conditions in the Los Angeles areaare excellent for reception and from the basis of re-cently conducted tests, it would seem that stations inthe Los Angeles section would stand a good chance ofhaving their signal cover most of the Southern Cali-fornia area. Tests made by Don Lee have shown trans-missions received in San Diego, 115 miles away.

Don Lee has another video application in for SanFrancisco. Television policy will probably follow theirradio policy of building a regional network on thecoast, with these two stations as the keystones.

Washington (continued from page 6)

casters, Inc., licensee of KSFO was also given a "greenlight" for commercial TV operation. Crosley won FCCpermits for Cincinnati and Columbus.

Notes by the WayThe American Jewish Congress has asked FCC to

consider the New York Daily News' editorial contentbefore deciding to give the company a New York tele-vision station. The AJC, which testified at length ina Manhattan FM hearing in opposition to the News'application, wants FCC to reopen its television recordto incorporate the same information. . . . DuMontstation WTTG here expects to be on the air with itsfull-fledged 5 kw sound and picture transmitters thismonth. DuMont, taking time by the forelock, hasalready started "audience research" in the D. C. area-and that with only a score of television receivers inhigh places. A penny postcard sent out to televiewersseeks to learn how many hours a week sets are in use;preferred type of programs; how many people usuallylook at the programs; model and year of receivers;and quality of reception.

NBC's gimmick is twice -weekly "televiewing par-ties" at NBC studios here, open to all who solicittickets of admission. Shows are sent down from WNBTvia the coax . . . TBA is readying a third request fora reprieve beyond Dec. 31 on FCC's proposal for full28 -hour a week teleprogramming after that date.

20 Television

one man'sa regular

monthly feature byDr. Alfred Goldsmith ra

Television Programs Determine Equipment ChoiceTOO much consideration in plan-ning a television station has

sometimes been given to equipmentcatalogues and real estate prospec-tuses. The logical approach, itwould seem, would be first to workout the appropriate programmingplan. The availability of local tal-ent, the likely supply of film tran-scriptions, and the possibility ofnetwork affiliation are among theimportant factors in programming.And obviously the program to beoffered by a station will in largemeasure control the selection of thenecessary equipment.

Careful analysis of the local situ-ation will determine whether a live -talent studio will be necessary oruseful in the early stages of opera-tion, whether a mobile unit for out-side events will be essential, howmany film projectors will be neces-sary, and what other equipment isindispensable.

Conceivably, a station could startoff with a film projector as the onlysource for local programming, withthe major portion of its programdepending on the network connec-tion. In this special case therewould be no need for an immediateinvestment in a live -talent studioand the large amount of equipmentnecessary for studio operation, norwould there be a need for a mobileunit. This case is unusual (in viewof community spirit) but must beconsidered. But as to what type ofoperation and what type of equip-ment would be needed, the answeris purely a local one in practicallyevery case.

Since the success of a televisionstation depends upon having avail-able the physical facilities whichwill enable the necessary type ofprogram to be effectively and eco-nomically produced, it seems wellworth while to consider this matterin somewhat greater detail.Program Selection

Years ago there was little knownconcerning the type of programwhich would be acceptable to thetelevision audience. Nor was there

available information as to methodsof producing particular types ofprograms. Years of serious experi-mentation on the part of groups ofthoughtful and pioneering tele-vision station personnel have, how-ever, resulted in the accumulationof the stores of necessary and help-ful information concerning thesefactors.

Today we know fairly well someof the types of programs which willplease the television audience-andwe are very aware of the type ofprograms which are unlikely to winaudience favor. Further, the experi-ence of our television directors andengineers has permitted us to un-derstand quite clearly what type ofequipment is necessary for produc-tion of every type of program, andhow such equipment should be used.

Our ideas as to the public pref-erence in the television field werefairly vague, but today they are be-coming more definite. The criteriarelating to the acceptability of theproper types of program are becom-ing more obvious and definite. Inthe light of these conditions it isdesirable to consider what is re-quired in the way of equipment toproduce a few of the types of pro-grams which will clearly be thebase, groundwork, or foundation ofthe future television program struc-ture in this country.

CorrectionIn the columns headed 'One

Man's Reflections' on pages 29 and31 of the November, 1946 issue ofTELEVISION there appeared anarticle by Dr. Alfred N. Goldsmithentitled 'Television Fallacies'.Through a regrettable series ofevents, this article was publishedwithout correction of the proofs bythe author or our staff. In conse-quence the article contains numer-ous and serious errors which werenot present in the original author'sversion. A list of these correctionsis available and will be sent tothose requesting it. We apologizeto our readers and the author forthis inadvertent happening.

Remote Pick -UpsIn the first place it is quite clear

that remote pick-up of outsideevents, not feasible for presentationin the studio, frequently wins pub-lic favor. A golf tournament, abaseball or football game, a boxingmatch, a Rodeo, or a hotly contestedboat race have all been found to bethe type of outside event whichclearly pleases the television audi-ence.

These events are also satisfyingto the broadcaster and the commer-cial sponsor, since the cost of theproduction is relatively low.

The sense of "immediacy"-oneof the greatest advantages of tele-vision broadcasts-is very strong insuch events. Accordingly it is surethat remote pick-up is a necessarypart of the operations of many tele-vision stations.

That being the case, it is clearthat stations must have availablelight cameras for remote opera-tion, portable controls for thecamera chains, and micro -wave re-lay equipment to carry the programconveniently from the remote pointto the television transmitter fromwhich it is broadcast. Fortunately,excellent equipment of this type isnow available at a cost which shouldbe well within the reach of anyproperly financed television station.N.wsrIs

Somewhat similarly, newsreels orfilms have proven popular either assponsored or sustaining features inthe television program. In somecases these newsreels have evenscored beats on the motion -picturetheater. And in other cases theyhave shown local events filmed byamateurs or the station cameraman,which pictures were not availableat all to the theater audience andyet were of local interest.

In order to produce such news-reels the television stations musthave available one or more 16 -mmcameras as well as a 16 -mm filmprojector and a camera chain to en -

(Continued on page 39)

December, 1946 21

PROPOStD TELiVISION STUDIO we V

UP TO NOW in television studioplanning the emphasis has

been placed on engineering needsand the producer's requirementshave seldom been met with evencourteous attention. Again andagain studios have been built andrevamped and the same problemsthat beset the producer in the earlydays are still prevalent today.

In setting up a studio, personalopinion as to a square, round, ovalor egg -shaped studio can prevailwithout really eliminating any ofthe hazards that concern the pro-ducer so much. This present planwas displayed by Charles Du Bose,architect, after numerous consulta-tions, and much thought, withyours truly. Mr. Du Bose's mainconsideration in consulting with mewere largely about the problemswhich concern the producer andhow they can be overcome and cir-cumvented by special studio design.While these plans may not be thecomplete answer, they are at leasta step in the right direction to thetelevision studio of the immediatefuture. The construction of thesetelevision studios allows for faciletelevising of at least the 28 hoursrequired by FCC. One large 4 -

camera studio and two 2 -camerastudios would provide ample spacefor the most ambitious program-ming set-up.

STATIONDESIGN

A producer and an architect get together-by HARVEY MARLOWE, executive producer, ABC

!arvey Marlowe

A quick glance at any studiofloor will point out one of the great-est hazards of television mobilitytoday. Yards and yards of cable,two or three boom type micro-phones and numerous light banksall add to the restriction of cameramobility. Here's how we plan to by-pass some of these obstacles.

MicrophonesSuspend the microphones from

a rotating shaft in the center ofthe studio. Three telescopic micro-phones will be extended from dif-ferent levels of this shaft, all ofwhich will be remote -controlledfrom a panel board.

CablesCamera cable will be set up on a

drum from a center box. As thecamera moves forward the cableunwinds itself and as the cameramoves backward the cable is auto-matically rewound, thus eliminat-ing one technician on each cablewhen a camera dollies back.

LightsAll floor lamps and light banks

will be removed from the floor. Afour foot panel of glass will be setinto the floor immediately ahead ofthe playing area. Lights will be re-flected at an angle controlled re-motely from a panel to cover anyportion of the playing area. In

Charles Du Bose

Charles Du Bose is head of the NewYork architectural firm bearing hisname. Among the buildings he hasdesigned are the National Capi-tol for the Republic of Ecuador; thegrandstand, club house and stablesfor the Monmouth Park Jockey Club,and a chemical plant at Rensselaer,N. Y. for the General Aniline Works.

addition to this a whole series oflights completely encircling the stu-dio approximately one foot abovethe scenery level will also be han-dled remotely to cover any portionof the playing area. Another seriesof lights will be suspended from agrid in the center of the studio.This should more or less take careof any lighting needs.Drapes

An intricate but workable set oftracks will be set up in the playingarea of the studio and by remotepanel a choice of anywhere fromfive to ten different types of drapesor curtains can be brought into anydesired position silently and im-mediately.Sets

Because of the studio audiencearrangement complete sets can bestruck or set up in an instant byflying them from one end of thestudio.

This article is one in a series on station design, which we have been running for some time now. Other articles were:Beaux Arts Television Station Contest Winners, WGN Television Station, Remodeling the DuMont Studios, and A Pro-ducer Designs an Ideal Studio. Copies of these articles in addition to other sketches in our files are available.

22 Television

First Floor PlanA-Public Entrance; AI-Public Lobby; At-Public Toilet and ('heck Rooms; Al-Stairs to

Audience Balcony.

B-Business Entrance (Executives, talent, etc.); BI-Reception.

('-Service Entrance.

D-Major Studio; DI-Sets are arranged in an arc for maximum efficiency. A grid is providedabove so that sets may be raised out of view, back drops interchanged, set: D2-Light panelflush with floor; D3-Microphones mounted on telescopic boom. mechanically operated.

E-Minor Studios; EI-Sets.

F-Scenic Studio.

G-Control Rooms.

H-Sponsors' Rooms separated by glass from Studio and Control Room.

.1-Oressing Rooms.

Second Floor PlanK-Audience Balcony; KI-Up to roof garden amphitheatre.

L-Executive Offices.

M-Talent Testing.

N-Observation Booth. Central control room is directly above, as indicated by dotted lines.

SECOND FLOOR PLAN

Control RoomThe control room will be at least

six feet off the studio floor com-pletely enclosed by glass on allsides. It will be set up (see insertX) to allow for complete view ofevery angle of studio floor withtwo clients booths on the same levelon either side allowing the clientto watch the program on the re-ceiver in the client's room, watchthe activities on the floor or watchthe producer at work in the controlroom.

Studio AudienceEvery seat in the upper balcony

will allow a complete view of anyportion of the studio floor. Directlyoverhead will be at least two largescreen receivers to see what is go-ing out over the air.

Roof ArenaOn the roof of Studio is an

amphitheater which can be used foroutdoor shooting events such aswrestling, boxing, tennis, gym-nastics, badminton, table tennis,fashion shows, etc. Image Orthiconcameras can be set up at the farend facing the audience so thatcamera can pick up the event plusaudience reaction and also createthe illusion of a dense crowd. Byutilizing the roof an additionalstudio is gained at very little extracost. Also the cost of operatingfrom this level would reduce studiooverhead.

Dressing Rooms andRehearsal Studios

These ill be made readily ac-cessible to studios on the samelevel.

OfficesExecutive offices will be on the

upper levels.

SceneryScenery department will be set

up between Studio A and StudiosB and C. This will open up on oneside with tremendous doors to al-low for any sort of outsize propssuch as trucks, cars, scenery, etc.

MUCH thought and much plan-ning has gone into the de-

velopment of these ideas-not justwishful thinking. Nothing has beenset down that is not architecturallyor technically possible. There is noreason in the world why a producer,given facilities of such a kind, can-not equal the production of Holly-wood's best.

December, 1946 23

ADVERTISING

CBS has issued its first rate card,which remains substantially the

same as their previous facilitiescharge of $150 per hour. On thequestion of control room control,commercial manager George Mos-kovics' letter, which accompaniedthe rate card, stated: "The clientmay choose to retain complete crea-tive authority over his program,subject to governmental regulationsand CBS policy, by appointing hisown director. If so, the director'sinstructions to the CBS studio per-sonnel will be relayed by a respon-

Commercial line-up at stations . . . new contractssigned . . . review of commercial formats . . .

sible member of the CBS staff. Thelatter will serve simply as a liaisonman and interpreter of CBS policy;his presence implies no limitationon the director's creative author-ity."

No limitations on the length ofcommercials has been set as stationfeels further experimentation isneeded before a definite decision ismade.

While awaiting the FCC decisionon setting color standards now,CBS is actively pitching for theirshare of the black -and -white busi-

WCBS-TV RATE CARD1. Air Time:At the present time no charge ismade for air time as such.

2. Use of Facilities andServices: (for either rehearsalor actual broadcast)A. STUDIO:Up to 15 minutes $ 60.0015 minutes to 30 minutes 90.0030 minutes to one hour 150.00$37.50 for each addition quarter

hour or fraction thereof.

B. FILM:Rates for the use of facilities forsound film are the same as forstudio use.*

C. TIME SIGNALS ANDWEATHER REPORTS:

Per 20 -second broadcast onsound film supplied by the client,$30.00.

(additional charges for otherthan sound film on request)

D. REMOTE PICKUP:Costs on request.

E. OTHER AVAILABLESERVICES:

Charges for complete programsor components such as sets,props, costumes, talent, etc., onrequest.

3. Miscellaneous:.1. COMMISSIONS:Charges for use of facilities un-der Sections 2A, B, C and D aresubject to 15% commission torecognized advertising agencies.

B. TIME OF PAYMENT:Charges for use of facilities arepayable immediately after eachbroadcast unless other arrange-ments have been made prior tobroadcast.

C. FREQUENCY OFPROGRAMS:

Contracts are normally drawnfor a minimum of thirteen pro-grams at intervals of not morethan 2 weeks. Contracts for lessthan 13 programs will be accept-ed only as facilities permit.

D. ACCEPTABILITY OF PRO-GRAMS, PRODUCT ANDCONTINUITY:

Facilities will be furnished onlyfor programs, products and con-tinuities acceptable to CBS. Typeof audience and program balancemay affect acceptability of pro-gram, product or continuity forspecific time periods. CBS will beglad to discuss such acceptabilityfor specific time periods in ad-vance of receipt of order.

Normally, sound film requires test run-through prior to broadcast. Additionalrehearsal time is required when live commentary or narration is employed.Therefore, the facilities charge for film is generally several times the chargemade for actual broadcast time. Charges for specific film programs on request.

ness-just in case. None -the -lessthe color potential is injected, withthe statement "It is our intentionto give WCBS-TV clients the firstopportunity to test the enormoussales potential or television in full,natural color."

Comparative rates for the operat-ing stations which have set up ratecards remain the same as printed inthe October issue of TELEVISION(page 26). Including the five hoursof rehearsal which NBC incorpo-rates into their air time charges,CBS tops the list with $900 for anhour show as against WNBT's$850; WPTZ's $550, and WBKB's$325 (based on up to 5,000 circula-tion). WABD, as previously an-nounced, has abandoned their ratecard, with a charge of $65 per hourset on studio rehearsal facilities.DuMont is offering this "buy" toagencies, with a clause stipulatingthat as circulation increases the oldrate card will again become effec-tive.

Rate cards are temporary, ofcourse. As sets are sold and circu-lation increases, the charges willalso rise accordingly. WBKB's ratecard takes this into account withtheir charges based on circulationsegments of up to 1,000 sets; 1,000to 5,000; 5,000 to 15,000; 25,000 to35,000 and over 35,000.

station activitiesGOOD indication that those

companies who ventured intoision this year, particularly on

the sponsorship of special events,are in to stay, is shown by the in-quiries now being made to line upprospective stations in cities whereimportant sports events take place-particularly football. And beforethey open, stations are equally ac-tive in tieing up the rights to thetop sports events.

WNBT's line up includes Esso"Television Newsreel"; Firestone"Voice of Firestone"; Gillette"Cavalcade of Sports," StandardBrands' "Hour Glass" and "Faceto Face"; U. S. Rubber "TelevisionQuarterback"; Borden's "I Love toEat"; RCA Victor, "The World in

24 Television

Your Home"; Goodyear Tire andRubber Company, Army footballgames; Bristol-Myers (Minit-Ruband T r us hay ) "GeographicallySpeaking"; Elgin, Waltham, Bot-any and Bulova spots, with SearsRoebuck "Visi-Quiz" relayed fromWPTZ.

WCBS-TV leads off with Ford's"Parade of Sports," Bristol-Myers'Ipana and Vitalis programs, Gulfnews; Reid's Ice Cream weather re-port and time signals by Bulova,Elgin and Longines Wittnauer.

WPTZ reports several leadingadvertisers indicating an interestin sponsoring television programs.To hypo that interest, Philco staffhas built several studio programswhich are available for sponsor-ship, among them, "Video Ballet";"You Can Draw," art instructionseries by Lester Wass, and "Tele-vision Talent Hunt," a live studioshow built and produced by AlanBarrie, noted stage director.

Remote pick-ups available forsponsorship will include the nineUniversity of Pennsylvania basket-ball games from the Palestra(Philadelphia), beginning on De-cember 21st.

WPTZ sponsors now includeSears Roebuck "Visi-Quiz," relayedto New York ; The Atlantic Refin-ery Company sponsorship of theUniversity of Pennsylvania homegames; Waltham Watch Companyand Elgin National Watch Com-pany, time signals; with Gimbelsdue to go back on the air with theirweekly "All Eyes on Gimbels" pro-gram.

Also signed up on a regular pay-ing basis-though no one is sayinghow much they are paying-arethree WNBT programs relayedfrom WNBT-Bristol-Myers, Essoand Firestone.

ABC's advertising line-up showsAlexander Stores' sponsorship of"Let's Play the Game" renewed un-til the end of the year; and Hir-shon-Garfield's sponsorship of "Bad-minton by Video," both telecastover WABD. Johnson & Johnsonfilm "Bathing Time for Baby" wasa one-time shot over WBKB.

ABC has also secured the rightsto telecast the Blackhawks' hockeygames over WBKB on Wednesdayand Sunday nights. Wednesdaynight sponsorship may be splitthree ways, with General Mills al-ready signed up. Present plan is tohave all three sponsors-who mustbe non -competitive --on each tele-cast. ABC feels that with two long

W6XYZ, while still experimental and not able to charge commercial rates,has conducted an interesting series of "live" commercial experiments in con-junction with the Ford Dealers of Southern California. Here a Ford tours thefield between quarters at the Los Angeles Dons pro football games. (For com-plete details, see "Report on Ford Comercials," page 10 this issue.)

time-out periods and before andafter game time spots, such a dealcan be worked out. Package will

also include sponsorship of thewrestling matches from the RainboArena on the seven nights when

Films for Television

Specially Designedto PAY THEIR WAY . . .

Far-seeing advertisers, now extensive users of -radio-,are finding that the most effective, the most economicalway to break into television is by means of FILMS.Mr. H. G. Christensen, vice-president in charge of ourTelevision Department, will be glad to show you howsuch films, as planned by Caravel', can be made topay their way-and show a proft.

Back of Caravel is twenty-five years of "know how" in visualizingsales facts in an interesting and entertaining manner.

CARAVELTelephone CIRCLE 7-6112

FILMS INC.

730 FIFTH AVE., N. Y.

December, 1946 25

New York Dress Institute program, "Signature Touches of American FashionDesigners," telecast bi-monthly over WRGB, was picked up by a receiver inthe Wallace Company's window. Good tie-in was worked out by having manne-quins in the windows dressed in duplicate fashions to those being telecast.

the games will be played away fromChicago. Sunday night games havebeen sold to Henry C. Lytton &

men's store.In addition ABC is also trying tointerest sponsors for the Rocketshockey games which they are doingover WPTZ.

Interesting angle is the sponsor-ship of the "Stump the Author"

show, weekly half-hour video ver-sion of the ABC radio show whichhas been telecast over WBKB sinceSeptember as a sustainer. Spot hasbeen sold to Television Associates-a video package agency whichCaptain Bill Eddy of WBKB heads.

WBKB have as their payingcustomers, Ford sponsorship of theNorthwestern games; Goldblatt

Hirshon-Garfield, Inc. have signed with ABC for a series of shows to be spon-sored by agency clients. First show, undertaken on behalf of Natura YarnFabrics, was Badminton by Video over WABD. Shot below shows WalterHerlihy demonstrating company product between games to interested model.

Brothers' "Let's Have Fun"; Cut-ter Cravats' "Sidewalk Tele Talks";Marshall. Field & Company, "DonMcNeill's Dinner Club"; The Fair's"Tele-Chats"; Commonwealth Edi-son Company's "Telequizzicall";and Elgin Watch Company, "live"time spot.

WRGB, which still has the wel-come mat out with no price for ad-mission to interested advertiserswho wish to use their facilities,featured the New York Dress In-stitute's "Signature Touches ofAmerican Fashion Designers"; andPlymouth Motor Car Company. Inaddition, sponsored programs wererelayed from WNBT.

WABD with charges on air timesuspended, have U. S. Rubber Com-pany with "Serving Through Sci-ence"; a weekly Wanamakerpresentation; Alexander Smith's"Magic Carpet"; Ford sponsorshipof the Yankee pro games and spotsby Elgin, Waltham, Longines-Witt-nauer; and Botany. One year con-tract with Chevrolet has just beensigned.

New AccountsChevrolet-A few months ago

T. H. Keating, general sales man-ager of Chevrolet, said in an inter-view published in TELEVISIONMagazine:

"Anyone is crazy who doesn'trealize television's potential . . .

"I am sure that television is, andmust be from its very nature oneof the most effective advertisingmediums available to the automo-tive industry."

Keating wasn't kidding. Chevro-let and DuMont have signed. Thecontract calls for a weekly one hourprogram each Sunday night begin-ning January 12, 1947 over WABD(N. Y.) and WTTG (Washington,D. C.) It is a 26 -week contract withrenewal option. Time and networkcharges will be based on a slidingscale dependent on number of re-ceivers in each area. Charges willbe subjected to a monthly review,and adjustments made according tofindings. Agency is Campbell -Ewald(Detroit). Win Case, agency vice-president, is in charge of the show.Plans call for future extension assoon as more network stations areavailable. Station WWDT, Detroit,is definitely on the list.

To date there has been no defi-nite commitment as to format butit is expected that initial programswill be film for the most part. Con-ference was arranged over a closed-circuit coaxial cable hook-up tele-vision circuit between WABD, New

26 Television

York and WTTG, Washington.Signing of contract was witnessedsimultaneously in the two cities bytop company executives who viewedcontract counterparts via television.Entire procedure was filmed off theface of the tube to provide a per-manent record of the precedent -shattering method of contractsigning.

Gulf, now sponsoring the CBStelevision news, in the Thursday8:15 to 8:30 spot over WCBS-TV,has also signed up the WNBT pack-age "You Are an Artist," featuringJon Gnagy. Fifteen minute show isa cartoon lesson for viewers andwill be in the Thursday night spotat 9, following the "Hour Glass."Contract is for thirteen weeks.Agency is Young & Rubicam.

Borden rrently sponsoringthe James Beard "I Love to Eat"program over WNBT, is addingthree shows to its schedule-audi-ence participation, drama, and va-riety. Programs slated for Decem-ber 15th and 29th and January12th, are being done in order todevelop television techniques andmethods of integrating the Bordencommercial, particularly Elsie, thefamed cow, into various formats.Agency is Young & Rubicam.

Bristol-Myers' plugs for Minit-Rub and Trushay will shift overfrom "Geographically Speaking" (atravelogue film by Mrs. CarvethWells) to a live format on De-cember 8th. Agency is Young &Rubicam.

Whitt, is sponsoring the Army -Navy game over WNBT-since it'sNavy's to decide who handles it.

commercials

Standard Brands' "Face toFace" is using a comic strip,brought to life, to handle the plug-in this case for Chase & San-born's Instant Coffee. Programopens with shots of three jars ofthe product. Format divides itselfinto two parts-with three con-testants or "victims" sketched fromtheir telephoned description. Thenthere's a break while the contes-tants are coming down from theninth floor viewing room to thestudio. During this interval the di-rect commercial is given. Comicscript drawing is shown first-cen-tering around a young couple try-ing to get to work in the morning.Dissolve is made to live action, withhubby never able to find anything,

Commercial on the Borden's show-James Beard "l Love to Eat," tele-cast over WNBT-uses this slide ofElsie the well -exploited Borden cow...

wifey getting it for him, and thenthe gripe from him that there won'tbe time for coffee. Wife tells himhe's wrong as she arrives with atray and prepares the coffee. Patterthen ctnters around the deliciousflavor and the special Chase & San-born features. Additional commer-cial is given with the presentationof the product to each contestant,with the result that there's toomuch plug concenrated in the sec-ond part of the show. Presentingthe package is okay, but a salesplug with each one, gets a littletiresome. Eddie Dunn and BillDu-: conduct the show, with Sugarhelping out on the commercial.Show is a weekly feature overWNBT in the 8 to 8:15 spot.

DuMont's commercial on theirtele-sets, opens with a horse race,then cuts to a man enjoying it overtelevision. Off -screen commentarythen swings into the advantages ofDuMont telesets - the cabinetopened, the screen pointed out, AM -FM and phonograph features, etc.Commercial is very well done, mak-ing use of the visual aspects oftelevision to the utmost.

Standard Brands' "Hour Glass"through J. Walter Thompson overWNBT proves there is no substi-tute for talent. Show which fea-tured Edgar Bergen and CharlieMcCarthy is a case in point. So faras Bergen is concerned, showproved superiority of televisionover radio and motion pictures forhis brand of comedy. Though rou-tines followed the pattern of radioand motion pictures the much-dis-cussed spontaneity of tele wasreally evident.

Show followed variety format

and included a chorus routine,Anita Gordon, magician Jim Sher-man, Ray Noble, Larry Stewart,Pat Patrick, and the dance teamof Elsie and Waldo. They were allgood, but chief honors go to Ber-gen and his three creations . .

Charlie McCarthy, Mortimer Snerdand Effie Klinker, who reallyachieve another dimension in tele.

Commercial was smoothly inte-grated with the program. Firstcommercial was introduced by hav-ing Bergen and McCarthy seatedin a cafe, and after a little conver-sation about everyone dining outin New York, the camera picks upa waiter serving a man who en-gaged in talk about the merits ofChase and Sanborn Instant Coffee.Product is plugged in this dia-logue, and driven home with off -screen announcement, and live stu-dio close-ups of jar of Instant Cof-fee. Second commercial was cen-tered around the theme of speedypreparation of the coffee. Motherand daughter stress the speed ofpreparing breakfast with instantcoffee.

As is usual on the Hour Glassboth commercials are sandwichedwith generous portions of enter-tainment which precede and followthe sponsor's message. Good willentertainment and sell are smoothlyblended.

This show was a strong answerto anyone who doubts the ability ofan hour long, studio presentationto hold the viewer. There is oneobvious answer . . . good talent,and this show had it.

Plymouth Motor Car Companytried the second in their televisionprograms over WRGB last month,with a third due in January. For-mat built around a novel quiz idea,featured a "live" Plymouth, whichwas in the background of eachscene. Story started in the office of"Eye Magazine," with the editorafter a story on the new Plymouth.Only reporter not busy is a dopeylittle guy (order of Lou Costello),who was sent out to get the storyand pictures of the car. His jour-neys took him to the South wherehe interviewed a Southern belle; tothe farm section, where he talkedto a farmer. Next was a beachscene, complete with some good-looking gals and a smart little boywho knew all the answers. His pic-ture taking concentrated on thegirls and the farm, rather than thecar, except one shot where he fellwhile taking it (and accidentallygot the Plymouth instead of the

December, 1946 27

Southern Belle). On his return tothe G -E studio, program reversed,with the audience asking him ques-tions and each participant receiv-ing a prize. Gag stuff was workedin here for he didn't know any ofthe answers. Closing shot was coverof "Eye Magazine" with the newPlymouth and the ad slogan. Scriptwas prepared by N. W. Ayer andshow was produced by WRGB.

Sears "Visi-Quiz" telecast fromWPTZ and relayed to WNBT andWRGB is an audience viewer par-ticipation show. Prior to show'sdebut on the Philadelphia station,home viewers were notified of theprogram and asked to send in theirtelephone numbers. Now that showis being sent to New York andSchenectady, a similar invitation ismade verbally to the viewers inthose areas to send their phonenumbers in so that they may beeligible for a prize.

Studio contestant picks out acard containing the phone numberof a viewer. Femcee seated at adesk calls the number and the homeaudience is given a chance to guessthe stunt. Studio contestant is real-ly a collaborator, for the emceewhispers the name of the person heis to portray to him and viewers getthe impression that the whole showis being put on for them-which isa darn good stunt for sustaining

Interest and creating a "party"feeling. This same easy feeling offun was established at the begin-ning of the show with the emceeDon Saxon introducing the studioaudience, and the cameras pickingthem up as they waved to theviewers.

Production, while simple, is goodand the commercial is very wellhandled. After each stunt the stu-dio and home contestants win amerchandise prize from Sears. Con-testant is led over to a large replicaof the Sears Roebuck catalogue,opens the cover and the prize isattractively displayed. Cameracomes in for a close-up as the fea-tures of the merchandise are dis-cussed. Copies of the regular andspecial Christmas catalogues arealso given to the winner.

Another good production trick isthe sliding panel, also with theSears name on it, which containsthe props for each stunt. Quickscene shifting by the WPTZ crewhas both the prizes and the propsin place when needed.

About five stunts, sent in byviewers, are featured on each pro-gram, which means five plugs forSears. Appeal to tri-area audienceis pointed up at the conclusion withthe catalogue opening to showSears' phone number in Schenec-tady, New York and Philadelphia.

MERCHANDISINGWestinghouse, RCA and Admiralintroduce new merchandise over television

Forerunner of the role that tele-vision will play as a merchandisingforce, was demonstrated last monthwhen three companies used tele-vision to preview new products.

The Admiral Corporation spon-sored the Wanamaker show overWABD to introduce their new Dual -Temp refrigerator. Format was anoriginal skit called "Yes, Mr. Bin-gle."

Opening scene was in the kitchenwhere a family of three were seatedaround the table having dinner.Conversation between husband andwife and precocious son was aboutthe new advertising account forwhich pop was angling, Mr. Bin-gle's Bratwurst. The brainy son,with more curiosity than manners,was reading the paper, when hesaw an item about a television showwhich will be held in ten days todemonstrate the superiority of theAdmiral Dual -Temp refrigeratorover the conventional model. Heread from the newspaper that the

test consisted of placing similarfoods in both refrigerators, andsealing them for a period of tendays after which they are to beopened in full view of the televisionaudience. He told pop that heshould try to get Mr. Bingle's prod-uct in the refrigerator. Popthought the idea wonderful andhad it arranged. Time passage wasindicated with a card saying "TenDays Later" and the family left togo to the telecast. Next shot showedthem sitting with the studio audi-ence, as the test results in the con-test of the refrigerators was aboutto be unveiled to a waiting world.

Miss Willie Mae Rogers, directorof home economics of the AdmiralCorporation was on hand with Den-nis James, WABD emcee. Here skitwent into a straight sales talk withthe differences in freshness of thefocds graphically represented. Eggswere broken, two slices of cheesecompared, etc.-with the superior-ity of the new Dual -Temp evident.

Westinghouse introduced theirnew electric comforter over WABD,in the Wanamaker spot. Skit"Fair and Warmer" was pro-duced by Bill Vance of Chicagooffice of McCann-Erickson. The ideabehind this presentation was goodin the sense that the drama con-sisted of a build-up (through thecenturies) of the best and newestway to keep warm . . . which, ofcourse, culminated in the applica-tion of the Westinghouse Com-forter. As a bedtime story thedrama would have been highly suc-cessful, for it would induce sleepwith or without the latest in elec-trified coverings.

Humor was written into the showand chief laugh -procurer JerryColonna was assigned the role. Hewithdrew from the part afterdress -rehearsal time, feeling thathis humor required verbal ratherthan visual treatment. His role con-sisted of rubbing sticks throughoutthe play and his costume consistedof an official Boy Scout of Americauniform complete with meritbadges. He deserves another badgefor drama following his resignationof the stick -rubbing role.

Play consisted of a long episodicdissertation on keeping warmthrough the ages. Episodes of thiswould-be historic -hysteric dramawere caveman era, Roman era,medieval era, eighteenth century,and modern (Westinghouse) time.

Production of the show involvedfive sets, and five costume changes,four mechanical models, two syn-chronized globe maps, a meltingiceberg, and numerous other spe-cial effects.

Commercial was integrated inthe script and took up one-third ofthe final portion of the presenta-tion. This was brought in by hav-ing the history of heat finally workup to a thermostat. The thermostatthat the camera picked up is at-tached to the Westinghouse Com-forter. Follows a series of scenesshowing children, and mother sleep-ing comfortably under the newproduct, but father who believed inthe old-fashioned blanket was veryrestless and unhappy. Point waswell driven home via audio andvideo, and all the features and ad-vantages of the new product wereconveyed. Care and cost were han-dled, by questions and answers be-tween the mother and the narratorat the conclusion of the program.

RCA introduced their televisionsets with a star-studded interviewformat over WNBT. Featuringsuch names as Jinx Falkenburg

28 Television

and Tex McCrary, Cathy O'Donnell,Robert Merrill, Bob Hope, EdgarBergen, Lillian Cornell, entireshow was angled around the twotable models and the console model,with the guests making commentsand asking questions.

Opener showed Radcliff Hall, theannouncer, who introduced thesets, then picked up Jinks and Tex,who, after the features of push but-ton tuning were explained to them,humorously discussed the hazardsof having a breakfast programtelevised. Distraction was createdby Cathy O'Donnell, MGM moviefind, who wanted the console modelexplained to her. Variety note wasinterjected by playing a recordwith a flash back to Robert Merrillsinging. RCA insurance plan waspointed up by having Eddie andBill Dunn of the "Face to Face"show (telecast an hour before) ap-pear complete with hammer andtools to keep the set in repair. AnNBC guide tour broke this sessionup-with the guide turning out tobe Ben Grauer in a page boy's uni-form. After more patter about thesets, the crowd was encouraged toask questions and that brought outsuch personalities as Bob Hope,Edgar Bergen, columnist EarlWilson and his wife, with the gagpatter well handled - with, ofcourse, the RCA receivers gettinga plug. Entertainment note wasadded by a Lillian Cornell song.

Teaser technique was used dur-ing the preceding WNBT program,with slides of the eye -witness syn-chronizer trademark flashed on thescreen and off -screen commentarywarning the viewers that a specialprogram was scheduled for nineo'clock. Fifteen minute trailer film,composed of all the NBC newsreelshots, immediately preceded theshow, with commentary pointing upthat this was the kind of quicknewsviewing you could expect fromWNBT. Tie-in was good-and al-though there was no attempt atshowmanship in the show, the pro-fessional ease of the "big names"helped put it over.

Top: RCA telovision sets were promi-nently displayed in the backgroundon WNBT's "IA Town Today." Cen-ter: The "old and new" were visuallycompared to point up the features ofAdmiral's new refrigerator. Bottom:In this shot the superiority of West-inghouse's electric comforter wasdemonstrated over the ordinaryblanket. Both Admiral's and Westing-house's programs were presentedthrough Wanamaker over WABD.

PROGRAMMING

Does the picture tell the story? Or is itnecessary to describe what's happening?

Those are the number one ques-tions with special events and sportspick-ups accelerating in almost alloperating stations and rankinghighest in proposed programmingfare for the stations soon to open.

And that there are groups whoanswer "Yes" to either question isalso shown by the various commen-tating techniques now being used.

One school of thought favors theidea that a conversational approachis best-that comments should bemodeled along the lines of two peo-ple at a game cheering for oppositesides. The other group, whichseems to be in the minority, be-lieves in a play by play, slightlymodified from the intensity of radiocoverage.

At WPTZ, Bob Stanton, NBC an-nouncer who has been handling thesportscasting on the Penn footballgames, sticks to a play by play dur-ing the game itself (obviously thonot as detailed as on radio) re -

Commentating techniques used with sports andspecial events . . . reviews of current formats.

verting to conversational commentson the "color" during the half andtime out periods. In veteran tele-caster Stanton's opinion, peopledon't need to be told "The band isnow entering the field"-they cansee that. But they do need to betold how many yards the ball wasrun back ; what yard it's now on;what down it is; etc. And weagree with him. Stanton also did acreditable job on the telecasting ofthe Army -Notre Dame and Army -Penn games, as well as some progames over WNBT.

In the CBS pick-up of the hockeygames, Win Elliott and Bob Edgedid a good job on the commentary.Elliott gave a play by play and oneof the best tricks he pulled washis comment during a pile-up: "Wedon't know what's going on downthere either-we can't see any morethan you can." This was given par-ticular force because the camerashad picked up Elliott and Edge be-

tween periods and you knew theywere in a vantage spot. Commentwas a subtle way of identifying thecrowd in the Garden with the view-ers at home. Back and forth re-partee of Edge and Elliott duringtime outs added humor and interest--at a time when it did not inter-fere with the action.

WCBS-TV rodeo coverage was agood example of mixing the twotechniques. As the segment tele-vised consisted mostly of singlestunts which could be caught inclear close-ups, what was happen-ing could easily be seen on the telescreen. Straight man Win Elliottgave the events and the names ofthe participants, while JohnnyFaulks, straight from the range,gave the "color" in an inimitableTexas drawl during back and forthpatter. Technique fitted in very wellon this type of event-in fact itadded immeasurably to it. Andmost important, it never interferedor conflicted with what was happen-ing on the screen.

On some of the NBC pick-ups,commentary was poorly timed. Noone wants to hear the personal bi-ography of a player when twenty-two men are in a heap on the fieldand everyone is anxious to knowwho finally recovered the ball. Onlong shots, where the players arereduced to pigmies, it's particularlynecessary to give a play by play.(Perhaps best example of this wasthe overheard comment in the NBCviewing room during the Army -Duke game - particularly note-worthy for the major use of longshots which were employed to thedetriment of the game. Person inquestion said: "I wish we had aradio along with us so we'd knowwhat was really happening"!)

CBS used the conversationaltechnique on their opening profootball game and results were nottoo good. With each announcercheering for a team, conversation

Two NBC Television image orthiconcameras were placed atop the plat-form specially erected for televisionpurposes at the Navy -Duke footballgame at Baltimore, and telecast toWNBT viewers.

30 Television

took on a "Gaston and Alphonse"complexion-and viewers were leftwondering where the ball was, whatdown, how many yards to go, whythe penalty was declared, etc. (Partof this could be explained by amix-up at Ebbets Field that night.)But aside from that, does this typeof good natured bantering reallyhappen at a football game. Isn't itmore likely that there's a bit ofswearing and a lot of cheering,rather than a mild "My man is bet-ter than your man" repartee? Suchchatter is a distraction to what'shappening on the screen.

WBKB's experience has shownthat fundamentally attention willonly be maintained as long as thecommentator is talking about whatthe audience is viewing on theirscreens. Audience reaction has alsoindicated that a modified form ofplay by play is desirable for base-ball and football. While they havetried various styles of commenta-ting for wrestling and boxing, audi-ence seems to prefer that the com-mentator subordinate his presenceto the action on the screen.

Other Events

Both NBC and CBS picked upthe opening of the UN sessions.NBC, employing five cameras toCBS' two, were able to give greatervariety to their pix coverage. Basic-ally, however, both techniques werethe same, with close-ups used forsome of the dignitaries and thecameras sweeping the hall as thedelegates arrived. Desultory com-mentary accompanied the pick-up.Proceedings were a bit boring,however, for in the long shot pick-ups, heads were reduced to blobsand somehow the historic import-ance of the event was lost in a feel-ing of boredom, induced mainly bynot knowing what you were lookingat.

After viewing all types of sportsand special events, both in station'sviewing rooms and in homes, ouropinion, backed up by comments of"non-professional" guests, is thatthe picture alone is not sufficient.On the spot tension is as much apart of the enjoyment of any sportas the game itself-whether it'sboxing or football; a UN openingor a hockey game. Radio has capi-talized on this to the fullest, withthe best sportscasters putting theexcitement of every play into therising and falling crescendos oftheir voices. Subconsciously it whipsthe home listeners into a state of

Above: WPTZ's announcer's booth at Franklin Reid contains a monitor so thatthe announcer can cue his corimerrtary to the on -the -air picture. Here BobStanton is show, giving a play-by-play of one of the Penn games. Below:WCBS-TV mobi e crew picked up the Columbia games from Baker Field.Mel Allen gave the audio. Bob Edge (wits- earphones) is seated on the right.

excitement, similar to that experi-enced by the people in the stands.In our opinion the same techniqueis needed in television. As a con-crete example, let's take football.Wonderful as television is at bring-ing the game into the living room,

the screen does not pick up the en-tire field. In the stands, youreye can sweep the field andhelp you to make your owndeductions as to where the ballhas finally come to rest. Cameraangling is often deceptive, it may

December, 1946 3I

show the 5 yard mark, when theball is actually on the 20 yardstripe. Thus a play-by-play keepsthe viewer content; does not givehim time to be annoyed at notknowing whether the player made ayard or was halted at the line ofscrimmage. And in the "conversa-tional" technique the ball has oftengone back into motion with theviewers wondering how many yardsto go for a first down.

SchedulesGlance at the following schedules

will point up the importance sportsevents assumed this fall, with foot-ball predominating but giving waynow to boxing, basketball, hockey,wrestling and other winter sports.

WNBT's schedule has called forthe televising of the Army gamesI sponsored by Goodyear throughN. W. Ayer) and the Giant progames on Sunday afternoon.Cameras are set up on the 50 yardline and camera action has variedfrom mediocre to excellent. In theArmy -Duke game, too frequent useof long shots reduced the players topigmies. However, on the Army -Notre Dame game, and some of thepro games, close-ups were used pre-dominantly and tele-viewers couldsee the ball in flight and the playsin motion. WNBT also picks up theGillette sponsored boxing boutsfrom Madison Square Garden andSt. Nicholas Arena.

WCBS-TV's remote schedule onthe Ford's "Parade of Sports" hasbeen particularly heavy, includingthe Columbia home games fromBaker Field, the Dodgers progames from Ebbets Field; hockey,

basketball, rodeo, and horseshow.Coverage of these events has beenexceptionally good. Close-ups wereused almost exclusively for thefootball games and, while this didnot give a feeling of distance to thefield, nevertheless you could see theball change hands and other intrica-cies of the game which would havebeen missed by a wide angle lens.Particularly good shots were of theball in flight in the night games.( For description of hockey andhorse show coverage, see "Reporton Ford's Commercials," page 10.)

WPTZ televised the Penn homegames at Franklin Field and thepro games from Shibe Park. Theirset-up includes two cameras, setup on the fifty yard line, and amonitor board so that sportscasterBob Stanton can see what's goingout over the air and cue his com-mentary to it. Philco technique isgood, with frequent use of close-upsand medium close-ups and excellentcamera action in following the play.Penn games were sponsored by At-lantic Refining Co., through N. W.Ayer.

WBKB's schedule included sevenNorthwestern games from DycheStadium sponsored by Ford. Cam-eras were located in the Southwesttower of the main stands, giving acorner shot from a high angle. This,they felt, was an excellent vantagepoint, because the development ofeach play was readily discernible tocameramen and viewers alike.

WABD picked up the Yankeepro games, also using two camerasstationed at the fifty yard line inthe mezzanine. In addition WABDtelevises boxing and wrestling.

WRGB sets up a regulation sizering in the studio for their boxingshows, with bleachers and chairsabout it, much the same as in a box-ing arena. There's no need to en-courage the ringside fans to cheer-that's an automatic reactionwhich the mikes pick up. Oftenthree cameras are used to pick upthe action, with one camera at anelevation so as to be looking downon the ring. Announcer keeps a run-ning story going as to what is tak-ing place.

Local ColorOf course, at the collegiate foot-

ball games there's never any lack ofcolor. There are the bands beforethe game and at the halves; theshift to the cheering sections aftera score or at time out periods, etc.-and all stations pick them up.WNBT's cameras brought thethree-ring circus put out by theNotre Dame band to the tele view-ers, as well as Lena the Hyena.

WPTZ stayed on the pix wavesabout a half hour past their usualtime to telecast the riot at FranklinField after the Penn -Princetongame-which should have convincedPhiladelphians that they have anextremely bellicose police forcewhen it comes to defending twogoal posts. Cameras swept the fieldpicking up the fighting at the posts,the charge of the mounted policeacross the fields and into the standsto herd the crowd back, and caughtin close-up the unlucky sailordragged across the field betweentwo police on horseback. (Finalscore: Two goal posts down-threePrinceton students jailed.)

Left: WNBT's "Let's Rhumba" is a fifteen minute dance instruction format featuring D'Avalos. Series will evolve aroundLatin American dances, with particular emphasis on popularizing the "Ranchera." Right: WPTZ's "The Man from Cairo"was one in their monthly series of dramatic shows. Night club setting below was one of three scenes used in the play.

Left: WCBS-TV's election night coverage used a two bay studio set-up, with one side devoted to the national happeningsand the other to local events. Pictures of the candidates were used with the tally written in under their names. Right:WRGB's "Jury of Public Opinion" revolves around a question of national interest. The new G -E electric opinionmeter is used to record the opinions of the jury of twelve when the question is first broached. After the pros and conshave been argued by two experts (shown at left), opinions are again registered to record the changes in viewpoint.

CBS' Bob Edge devised an in-terest holder for the pro gameswhen such collegiate color is miss-ing. Charts showing the variousformations of football and hockeyhave been used to explain thegames.

WNBT brought some glamourinto their remote pickups with thetelecasting of the "gala world pre-mieres" of "The Razor's Edge"when it opened at the Roxy Thea-tre, and "The Best Years of OurLives" at the Astor. Three cameraswere used for each telecast-oneunder the marquee of the theatre;another in the lobby and a thirdin the balcony overlooking thelobby. Among those interviewed atthe openings were Darryl Zanuck,Tyrone Power, Gene Tierney, Clif-ton Webb, Myrna Loy, Dana An-drews, Virginia Mayo, CathyO'Donnell, and director EdmundGoulding. Bob Stanton, NBC tele-vision announcer, stationed outsidethe theatre, described the arrival ofthe guests; Ben Grauer handled theinterviews in the lobby and Rad-cliffe Hall described the scene fromthe balcony.

W6XYZ's recent mobile cover-age included a two-hour pick-up ofthe Armistice Day parade and cere-monies at City Hall. Semi-finalsand finals of the professional hard -court tennis championships, featur-ing Bobby Riggs, Donald Budge,William Tilden and others weretelevised from the Los AngelesTennis Club, from noon to five p.m.on the two days they were playedoff.

public service

WBKB's election night cover-age included visits to both Repub-lican and Democratic headquarters.

Proof of versatility of mobileequipment was given by the factthat the WBKB staff was able tomove the entire unit from one clubto another in less than an hour-in-cluding running the coaxial cable42 floors to the top of the Morrison

Zew 7464FOR TELEVISION

S -F FinderFor studio and remote shot-planning-you know

your pick-ups and light placements withoutcurrying your camera.

NOT for the camera-but for TOIL':NOW you can know IN ADVANCE exactly

%t hat the camera will see.An exact image viewer which Kites you In a

pocket size, the various matching magnificationsand fields of sews of your television camera-long shot to close up.

Its tiny turret mounting carries precision -ground lenses a hick match the ike's 0, 8, 12,and 14 inch lenses. Other focal lengths will besubstituted upon request, as will be lenses tomatch orth or other cameras in place of Ikemounts.

AND. this director -type viewer, styledto the last Inch, curviest a pop-up mono-chrome filter for checking lighting andcontrast balance.

Shot -Plot SetThis effectit ely sty led set car-

ries eight t ranspa rent plasticdrawing inst nts %thief' are

translations of 1 Ise fields of cover-nge of your toilet Won camera's 0,

8, 12 mind 11 I111.11 lenses. Two anglesof view, horizontal and vertical for

each lens, make up the eight pieceplot set.

No need to put climeram on the line Now you can 111.111e out your setsor trundle them around the studio -110 wasted rehearsal time for produc- / and camera shots in vertical or horizontalers, directors. citmerneren, design-

plot on special scale -ruled plot paper. E your camera coverages for shi-ers or lighting directorslens choices. Mail ordets Invited

$49.50 post paid, with any four / find action for the most effective shots-seedio and re tes, plot your scenes, cameras

for this and other S -k' designs. what y1/11 cover and fr where-top to bot-tom and side to side.

sizes of scale -ruled plot paper Included Ineach adroitly designed case-ruled IA, 1/4, and 1/2

Inch to one foot. This Shot -plot Set is designed to help you

plan the best lens choices, set designs and cameraplacements at your own desk.

$22.50 post paid, with Ike angles for 11. 8, 12and 1.1 inch lenses. Other lens fields for this andother cameras substituted upon request. Mailorders are invited.

STAN FORD ASSOCIATESDesigners of the Hollow Cross System for

Television Lighting.5237 GREENWOOD AVENUE CHICAGO 15

December, 1946 33

WRG3's Armistice Day program, "Shades of John Paul Jones," produced incooperation with the Navy, featured some of the Navy's oldest war relics.Program was in line with increased interest of the Navy in television, as exem-plified by incorporation of a television division into its regular radio sect on.

WNBT's "The Last War" was a fantasy on a world completely dominated byanimals. Luminescent wire masks and special costuming and scenery effectswere devised to underscore the central theme cri this philosophical drama.

Hotel. Six engineers handled thejob.

WCBS-TV mixed their electionreturns with pick-ups of the horseshow from Madison Square Garden.In between military, dressage and

hunter events, viewers werebrought back to the studio for elec-tion news. Simple, two -bay studioset-up was used, with one bay de-voted to the national trend and theother to local and New Englandraces. Pictures of the candidates

provided visual recognition withthe returns written in under thephotographs.

WTTG DuMont Washington out-let, will televise the "AmericanForum of the Air" starting thefirst of the year. Oldest forum inradio, program will be picked upfrom the Shoreham Hotel in Wash-ington. Originated by TheodoreGranik, Washington attorney whoacts as moderator, controversial is-sues will be discussed by notablesfrom camps of opposite viewpoints.Program will be relayed to WABD,the New York station.

WRGB's latest in a series of ex-periments with news presentations,televises what appears to be a largeticker tape, carrying headlines ofthe news. A commentator followsthe showing of the headlines, tell-ing the story in his own words.Presentation was looked on strictlyas an experiment.

currentWRGB's "National Book Week

Program" was based on HansChristian Anderson's fairy tale,originally known as "The Goblinand the Huckster." (Out of defer-ence to "The Huckster," title forthis show was changed to "TheGoblin and the Grocer.") A marion-ette goblin was the focal characterwho talked with clock, cash registerand scales in a grocery story set-ting. Story centered around his in-decision as to whether he wouldprefer to eat butter or spend hisdays reading the books in the attic.When a fire broke out and he savedthe books-forgetting about thebutter downstairs - his decisionwas made for him. Marionette wasbuilt and operated by Joe Owens,a G -E employee.

WBKB's "Cover Girl," weeklyfifteen minute show, is presentedby the Patricia Steven finishingschool for models. Story centersaround three girls and theirdreams. Narration, in semi -comicfashion, sets the stage, dissolvingout into a close-up of one of thegirls. Same technique of fast dis-solve, followed by close-up of eachgirl is used until all three are in-troduced and in a sentence or twogive their points of view. This par-ticular segment centered aroundthe girls' dream men. Jeannie de-scribed the man she met on thetrain with a flashback used to dra-matize the story. Then as each girlsits and dreams, same flashback

34 Television

technique was used. Corrinne's ideaof the reckless, dangerous type dis-solved into a dark street scene withHumphrey Hogart leaning againsta lamp post and Corrinne slowlymoving close to him to the tune of"As Time Goes By." Melodramaticlines lead to a dance number in lieuof farewell. Smoky's dream man-the young business exec-showedthe two of them in his office, goingover his schedule, complete to threeminutes left for split second deci-sions. Dissolve from scene, pickedup the three girls still sitting onthe couch, deep in thought, withchins in hand-and the narratorclosed the tale, with an invitationto tune in next week.

WCBS-TV's "Saturday Revue,"weekly variety program which pre-miered last month over the station,started as a combination dance,fashion and news highlight show.First few shows, however, were notup to par, with the fashion end inparticular falling short. Originallyten beautiful girls were used tomodel the clothes. Now, however,integrated format has been adapt-ed, with a night club setting asbackground. Patrons entering theclub give the fashion show. Pro-gram has featured some top night-club and stage names, among themJean Sablon, French singing star;Ellsworth & Fairchild, dance styl-ists; swingstress Maxine Sullivan;Paul ("Born Yesterday") Douglas;fast steppers "Tip, Tap & Toe,"and Hal LeRoy. Program is di-rected by Paul Belanger.

WABD's "Faraway Hill" is oneof the first attempts to put on aregularly scheduled television soapopera. Written and produced byDavid Lewis of the Caples Companyas an agency -sustained show, it hasall the elements of let -the -soap -chips -fall -where -they -must dramawith heartbreak, love, noble rejec-tion, death, gossip, and plenty ofeternal triangle.

The seventh chapter opened witha rustic sign carrying the name"Faraway Hill" and camera thencut to central character, Karen St.John, who with tear-filled eyes re-viewed the action of the previouschapters in a manner which suc-cessfully projected her character,and brought the viewing audienceup to date with the latest crises.At this point the camera againpicked up the rustic sign, but thistime names of the rest of the castwere flashed across it. As eachname appeared an off-stage voiceestablished the identity and rela-

tionship of these other characters.Well-timed musical chords addedproper mood here.

The half-hour play movedthrough its scenes with a liberalserving of emotionalism whichshould satisfy the vast segment ofthe female populace who enjoy agood cry. The ability of the act-resses to televise their tear-filledeyes certainly added enchantmentfor people who react tear -for -tear.

In this seventh chapter therewere several scenes among whichwere the farmhouse kitchen, coun-try church, and one on top of a hillwith a well -painted backdrop of thedistant valley, and surroundinghills. This backdrop had the farm-house where most of the action tookplace painted on it. This was clev-erly utilized when action switchedfrom hill to farmhouse kitchen byhaving the camera sweep down thevalley to a close-up of the house,and then into the farmhousekitchen. Other visual devices wereclose-ups of a clock, and calendarto establish time passage. Good usewas made of off-stage narration andbits of mood music to explain andheighten the psychological inter-play of the tearful triangle. At thepoint where you felt the soapbubble was about to burst, a cardappears proclaiming "ContinuedNext Week."

drama-WPTZ's "The Man From Cairo"

is one in their series of dramaticshows, ranging in length from 40to 60 minutes, which are put on assustainers about once a month.This particular presentation ranfor 55 minutes and required 4I/2hours of camera rehearsal afterrelatively little dry rehearsal.Three sets were used-a nightclubinterior, a rooftop setting and adining room scene. Special rehear-sal for the stage crew was alsonecessary because a completechange of sets was needed in thefifteen minutes between the previ-ous show and this one.

WNBT's "The Last War" wasa clever fantasy presented as anarmistice day feature. Productionwas well handled with specially cre-ated costumes and luminescent wiremasks for the "animal" charactersin the play. Theme centered aroundthese "animals" who had gatheredtogether to discuss man's fate whenthey discovered they had inherited

(Continued on page 39)

Major film

company

executive

Completely

sold on

television

Will give up present

executive position to get

into television now.

Twenty years experience

in all phases of motion

picture industry-

production, distribution,

sales, newsreel, talent,

etc. Have closely studied

television industry for

some years now. Ful'y

acquainted with its many

problems.

Feel completely qualified

for station managership

or heading up of special

events department.

Box 66,

TELEVISION,

600 Madison Ave.,

New York 22

December, 1946 35

FILMS

SHEDDING new light on theeconomics of film production

is the report of the Association ofNational Advertisers titled "NewHorizons for Business Films."This report is based on a surveyof the entire A.N.A. membership.The study was projected from twosurveys; the first, classified com-panies as to the extent of theirexperience with films, and inquiredinto their future plans. The secondsurvey was more intense, and wasbased on personal interviews withrepresentatives of sixty-seven com-panies whose advertising appropri-ations ranged from modest to huge,and whose product lines covered across section of industry.

Here is part of the report whichdeals with the factor of costs:

Motion Picture Costs"How much does a car cost?"

There is no answer to this question.No more can you expect an intelli-gent answer to the question, "Howmuch does a movie cost?" withoutknowing where it is to be bought,for what purpose it will be used-and how much the buyer is willingto pay to impress the neighbors.

Nevertheless, in this section, wetry to classify films and give someaverage costs for all various typesof films.

Data is from the individual ques-tionnaires supplied by members onthis survey. Widely varying prac-tices in the costing of film opera-tions were observed, although allhad in common the commendableaim of distributing "burden," ordepartment overhead, to get real-istic costs. One company is able toachieve this literally. The Film De-partment's program calls for 24productions a year, on a two -per -month schedule, and accordinglyeach production is charged with itsproportionate share of overhead.Direct out-of-pocket costs are add-ed, to give a figure which accu-rately represents the total produc-tion cost of each film.

Films For Both Theatrical andNon -Theatrical Showings

These are films which have beenused during the war by severallarge companies. A long version,which usually runs somewhat over30 minutes, is available in both 16

ANA report on the economics of film production.

and 35 mm. In addition a one -reelshort is made for theatrical show-ings.

Production costs (these filmswere made as long as three yearsago) range from $50,000 to $85,000for the entire operation, plus about$15,000 for the prints. Costs arereduced, these companies report,when production and distributionplans for both versions are com-pleted in detail even before thescript is written.

Bled( and White FilmsThe largest number of question-

naires covered black and white in-stitutional pictures made by out-side companies. They divide about50-50 between films of simple con-tent and major productions withprofessional casts. About half thefilms are in technical animation; athird use lip synch. On cost perreel, the films with relatively sim-ple production techniques range inprice from $2,560 to $9,740 with amedian price of $6,350. The medi-an price of the more complicatedfilms is $20,150 with a range of$12,732 to $41,700 per reel.

Product Promotion FilmsMade by Outside Producers

Six sound films in black andwhite range in price from $1,980 to$10,000 per reel. The median -pricemovie was $6,600 per reel-thisfilm contained technical animationsequences, while all other films inthis series were direct photographyonly.

no platitudesno rosy prophecieslust solid fact

every month, TELEVISIONmagazine will bring you a fullreport on all significant devel-opments in the industry whetherit be FCC actions, advertising,equipment news, programming,station operation, films, etc.

$4.00 for a year's subscriptionsend in the attached card today

The quantity of prints was rela-tively small for this series, and themedian rate was $13.45 per reel fora print order of 50.

A group of three sound colorfilms made direct in 16 mm. Koda-chrome ranged in price from $4,900to $12,225 per reel. Print costs werebetween $60 and $75 per reel de-pending on quality.

Made by Own CompaniesProduction costs on a series of

nine films made during the war pe-riod by A.N.A. members had theextreme range from $326 per reelto $8,250. The low price films wereshot by the companies' field sales-men and sent to the home officefor sounding. Excepting these two,the range is from $2,855 per reelto $8,250 with $5,200 as the medi-an price.

Made by Outside ProducersOne company reported on two se-

ries of how -to -do -it pictures. Tech-niques were real photography andtechnical animation. The films, pro-duced in 1942 and '43, were shot onblack and white 35 mm. film, andboth 35 mm. and 16 mm. printswere made. One series cost $4,600per reel and the other $5,000.

Four employee indoctrinationpictures are classified in one com-parable group. These were notmade for entertainment and used arelatively inexpensive cast on loca-tion. Only one had lip synch, andall were black and white. Theyranged in price from $9,450 to $12,-700 per reel, with a median of $12,-200.

Produced by Own CompanyIn a series of four, all shot on

16 mm. Kodachrome, the followingprices were reported: For a filmwith direct photography and voiceover, $2,675 per reel. Two films,both with technical animation, onewith lip synch, about $5,500 perreel. One film with both technicaland cartoon animation and lipsynch, $9,215 per reel.

Sales Training MoviesWith one exception, all films re-

ported in this category were pro-duced by outside companies. A widerange of prices was reported witha median value of $7,325 per reel.

36

EQUIPMENT

THE odds are that in five years,when RCA promises color tele-

vision, the system then offered willbear little resemblance to the meth-od shown at their recent demon-stration except for the basic prin-ciple of all electronic color.

SComensec4.1006 Woe

Ty.

_

iLl."ToCtu.:NAM

4.1.1K .11401118

srocaus

Color Film Scanning Unit

There are many electronic sys-tems in the laboratory. The onethat RCA chose to demonstrate wasprobably the method that could bedemonstrated most easily at thistime.

Simultaneous Color Picture Projection

RCA's present system briefly, isbased on simultaneous color trans-mission. Transmission of the pic-ture is achieved when a light beamfrom a kinescope is focusedthrough a picture and separated in-to component colors by a system ofmirrors and photoelectric cells.Each of the three transmitted basiccolors, red, blue and green, has 525lines and also the same horizontalscanning rate and the same picturerepetition rate of thirty pictures asecond as in present commercialtelevision broadcasting.

The receiving set is equipped withthree 3 -inch kinescopes which sep-arately receive the signals repre-senting red, blue and green. Thistrio of kinescopes is called a trino-scope. From it the three color im-ages are optically projected into acomposite picture which appears ona 15x20 inch screen.

Perhaps the outstanding featureis the removal of the threat of ob-solescence of low frequency black -

All -electronic color ... recent patent grants

and -white television receivers.Since the electronic characteristicsand all of the standards includingthe synchronizing pulses are iden-tical to those of the present black -and -white standards, any broadcastfrom color stations using the elec-tronic simultaneous system can bereceived clearly on low frequencyblack -and -white receivers by theaddition of a simple inexpensiveradio frequency converter.

A television station can start outon black -and -white transmissionand eventually operate a mono-chrome transmitter on low frequen-cies and also an electronic colortransmitter on ultra -high frequen-cies using the signal of the colorcamera to operate both transmit-ters. In addition to this, the highfrequency color transmitter willalso be able to send pictures out inblack -and -white. With this arrange-ment the problem of obsolescencefor the broadcaster as well as theviewer is reduced to a minimum.

Interesting is the timetable oflaboratory demonstration of elec-

tronic color television as outlinedby RCA.

Live -action studio scenes by themiddle of 1947.

Outdoor action scenes by the lat-ter part of 1947.

Large -screen theatre -size picturesin 1948.

Illustration above is a close-up shot of the "Trinoscope" projection assemblyused in the RCA electronic color receivers. This consists of three 3 -inchkinescopes which separately receive signals representing red, blue and greenimages and projects them optically as a composite color picture on the I5)(20 -inch screen at the top and front of the set. Below, Ray D. Kell, head of theTelevision Research Section of RCA laboratories examines the "Trinoscope.

December, 1946 37

Professional DirectoryRING & CLARK

Consulting Radio Engineers

WASHINGTON, D. C.

Munsey Bldg. Republic 2347

JANSKY & BAILEYAn Organization of

Qualified Radio EngineersDEDICATED TO THE

Service of BroadcastingNational Press Bldg.. Wash.. D. C.

Consulting Radio Engineers

JOHN J. KEELEarle Bldg., Washington, D. C.

NATIONAL 6513

WELDON lk CARRConsulting Radio Engineers

WASHINGTON, D. C.1605 CONNECTICUT AVENUE

Phone-Michigan 4151

GARO W. RAYConsulting Radio Engineers

991 Broad Street Bridgeport, Conn.

Phone 5.2055

FRANK H. McINTOSH

Consulting Radio Engineers710 14th ST., N. W. ME. 4477

WASHINGTON, D. C.

COMMERCIAL RADIOZ. EQUIPMENT CO.

Radio Engineering ConsultantComplete engineering services forapplicant, owners. and operators of

AM-FM-and TelevisionBroadcasting Stations

International Building, Washington, D. C.321 E. Gregory Boulevard, Kansas City. Mo.cross Roads of the World, Hollywood, Calif.

GEORGE C. DAVISConsulting Radio Engineer

Munsey Bldg. District 8456

WASHINGTON, D. C.

DIXIE B. McKEYROBERT C. SHAW

Consulting Radio Engineers1730 Connecticut Avenue, N. W.

Washington 9, D. C. Adams 3711

HOYLAND BETTINGER

Television ConsultantStudio Design, Lighting,

Personnel Training

595 Fifth Avenue PLaza 84000

McNARY & WRATHALL

Consulting Radio Engineers

National Press Bldg. DI. 1205

WASHINGTON, D. C.

WORTHINGTON C. LENT

Consulting EngineersInternational Bldg.

1319 F Street, N. W.

Wash., D. C.

District 4127

JOHN CREUTZ

Consulting Radio Engineer319 Bond Bldg. REpublic 2151

WASHINGTON, D. C.

JOHN BARRONConsulting Radio Engineers

Specializing in Broadcast andAllocation Engineering

Earle Building, Washington 4, D. C.Telephone NAtional 7757

BROADCASTING STUDIOSDesign and Construction

Television, also F.M. and A.M.THE AUSTIN COMPANY

Cleveland

A Nation -Wide Organization

patents

Transmitting TubeRussell H. Varian, Wantagh, N.

Y., won No. 2,410,115 on a photo-electric device which utilizes anunusual electron multiplicationprocess (10 claims allowed, appli-cation for patent Sept. 2, 1942,assigned to Sperry Gyroscope Com-pany, Inc.)

The extremely sensitive trans-mitting tube covered by this patentis made possible by a lens systemwhich is used to focus an opticalimage on a photoelectric surface.

This converts the optical image intoan electron image, which then maybe intensified as a whole by utiliz-ing the effect of secondary emis-sion to obtain electron multiplica-tion. The intensified electron imagethen is converted back to an in-tensified optical image.

Varian comments that intensi-fication of an optical image hasbeen a long -sought objective in theindustry, in order to make possiblevisual detection of the presence ofobjects too dimly illuminated to beseen by the human eye.

The electron multiplier here pat-ented makes possible a tube which

incorporates both the electronmultiplication principle of theFarnsworth dissector, and the stor-age principle of the Zworykiniconoscope. It intensifies the elec-tron image as a whole with theelectron image remaining intact.Cathode Ray Tubes

George W. Pratt, Lancaster, Pa.,received No. 2,409,514 on a newmethod of coating cathode ray tubesto increase the breakdown potentialacross the gap between conductiveregions on the bulb walls. Sometypes of cathode ray tubes are con-structed with electrodes comprisingconductive coatings on the inner

38 Television

wall of the tube. In these, the sec-ond anode and the accelerator elec-trode are separated by a gap of asmuch as an inch of clean uncoatedglass to permit a difference of po-tential of several thousand volts tobe maintained. Arcing and sparkdischarges often develop and causeconsiderable trouble.

Under this patent, a gas -free ad-herent coating is applied to the wallof the bulb between the regions ofdifferent potential. The coating isformed of a fine powder, preferablyferric oxide, mixed with an alkalimetal silicate such as sodium sili-cate. When a layer of this materialis striped on and baked, a hard,smooth, substantially gas -free coat-ing is formed. It appears to be al-most electrically non-conductive andis dark red in color.

The patent, on which 10 claimswere allowed, was assigned to RadioCorporation of America.

Programming (continued from page 35 )

the earth after the last war.Show opened with scene in

heaven and showed an elderly dig-nified gentleman looking at a chartof the tree of evolution, whose top-most branch showed man. He tooka pencil and crossed man off. Anangel appeared and he entrustedher with the mission of bringingthe last man back from earth. Hethen pulled down a screen andshowed the angel what had trans-pired on earth since 1945. Filmclips of devastation were then pro-jected, backgrounded with verystirring music. War and more warthrough the years, tanks burning,men marching, and finally the sceneof horror skillfully dissolved intothe studio setting and the livedrama began.

Through allegory, and philoso-

phical discussion the play estab-lished its final point which was thatman had failed in his mortal life.Final studio scene faded into afilmed quotation from Charles Dar-win as the narrator read the words.

It seemed that the play was real-ly not an anti -war play after all . . .

but a one-acter proving that lifewas really unimportant, if one be-lieved in the soul's immortality.Despite these philosophical conclu-sions with which we will not argue,the presentation with its well-timedusage of excellent film clips andunique costuming, background, stir-ring music, and fine acting providedteleviewers with a highly divertingand stimulating drama.

The play was under the directionof Warren Wade, executive pro-ducer for NBC Television.

One Man's Reflections (continued from page 21)

able the transmission of such films.Of course the film can sometimes bepicked up from local sources-suchas amateurs or even local profes-sional cameramen. But in mostcases it is more likely that a stationemployee will be sent to the eventin order to photograph it. The sta-tion will also require skilled writersand commentators who will supplythe running description, with addedmusic or sound effects, which willaccompany the film.Film Equipment

It has also been found that thereare times when available featurefilms or shorts provide a reasonableentertainment level for the audi-ence. If it is contemplated to usesuch commercial films, a 35 -mm filmprojector or two, and camera chainswhich can be used with these pro-jectors, must be available.

Experience has also shown thatsome live -talent programs require acertain amount of "dressing up."Still pictures may of course beshown in connection with commer-cial announcements. This processrequires a slide and still -film pro-jector as usual, with a camera chainavailable to transmit the picture.

Added interesting "effects" arealso useful at times. For example,kaleidoscopic or shifting patternscan frequently bridge an otherwisedreary gap in the video transmis-sion. A few such "effects" devicesshould be available together with acamera chain to enable transmis-sion of these images.

At present, a separate camerachain is not needed for 16 -mm film,for stills, and for "effects." Usingsome ingenuity, one or two camerascan fully meet all such require-ments interchangeably.

If the station wishes to enter intothe more elaborate realm of presen-tation of live -talent program, equip-ment demands increase and may, infact, be expanded almost indefi-nitely.Live Talent

Three types of live -talent per-formances have already found con-siderable favor with the televisionaudience. There is the typical dra-matic or comedy program, thevaudeville type of program, and thenovelty or demonstration type ofprogram. In the dramatic programthere may be presented anythingfrom a short "curtain raiser" to acomplete theater production. Vaude-ville programs may include soloists,dancing, acrobats, magicians, and ahost of other acts which pleased thetheater audiences of long ago andwhich have been received equallyenthusiastically by the present-daytelevision audiences. The noveltyprogram may include, for example,audience -participation presenta-tions. These shows are frequentlyhuman in their appeal, and some-times extremely comic. Demonstra-tion programs, for example, in theline of cooking, house furnishing,and the like will be of interest to agoodly percentage of the audience.

If the preceding type of live-

television program is to be offeredby the station it is clear that itmust have available some scenedocks, stage lights, at least threecamera chains and master controlequipment. Depending upon thenumber of programs to be offeredand the simple or ambitious natureof the program, the station mustexpand its facilities to correspondto its needs.

While the preceding examples ofprogram types and of requiredequipment are purely illustrative,they should assist the televisionstation owner in determining thetype of equipment which he willneed. Television stations must se-lect the type of service they areprepared to render with due regardto the economic conditions in theircommunity, the nature of the audi-ence, station affiliation and non -af-filiation with a television network,the availability of local talent andof local events of interest, andother pertinent factors. Once theseelements of the program are deter-mined, a thoughtful analysis willmake clear the type of equipmentrequired to enable the station toplease its audience and to developits program structure on the basisof operation which it has carefullyselected. But such deliberate plan-ning of programming and the pro-vision of only the correspondingnecessary apparatus will avoid un-necessary investment in equipmentwhich may not be needed in theearly operation of the station.

December, 1946 39

Why Members of the American Federation of

Musicians Are Not Working for TelevisionBy James C. Petrillo

IN February, 1945, the International Execu-tive Board ruled that members of the Amer-

ican Federation of Musicians shall not play forTelevision in any form until further notice.

I believe it necessary to give an explanation ofthe Executive Board's action:

The introduction and development of Televisionpresents the same threat to employment of mu-sicians as did the change from silent to soundmovies. As Television progresses from one stageto another, it is apparent that movies will playa great part in its future, and that it is possibleto produce the majority of Television programs in"canned" form, thus eliminating all radio enjoy-ment. You all know, through bitter experience,that when the Vitaphone and Movietone wereinstalled in the theatres of the United States andCanada, we lost the employment of 18,000 mu-sicians almost overnight.

The American Federation of Musicians is de-termined to avoid a repetition of that tragicexperience, and until we find out exactly wherewe stand (by that, I mean whether Television isto destroy our employment in radio, or whetherit is going to put men to work, or other meansfound whereby our employment opportunities willnot be lost), we are not going to render servicesin the making of Television.

Let us speak frankly. When we lost the em-ployment of 18,000 men in the theatres, did thetheatrical interests or anyone else worry? Ofcourse not. What happened to the musicians whowere in the pit and who have now disappearedbecause of a new invention? Thousands of themembalmed their instruments and sought otheroccupations; hundreds could find no other suit-able employment; others went into less remunera-tive employment; and many, to their greatsorrow and grief, were unable to follow the pro-fession of music ever after. I can think of noindustry that has made more money than themoving picture industry in the past few years.Have they put any more men to work? Theyhave not. They told us then, what the radio peopleare telling us now-"When we build our largetheatres, we will put more men to work." Well !They built their large theatres, and we have

fewer men working in the theatres today thanat any time in the history of motion picture thea-tres. The radio people say-"If we make money,you will make money." This is the same languagethat the theatre people used.

We have been fooled so many times and misledby the employers so many times by their sayingthat every new invention would help us, that ifwe permit ourselves to fall in line again withthat kind of talk, we deserve the consequences.However, the musicians of the United States andCanada have seen the light, and they understandthat the action taken by the International Ex-ecutive Board is a wise one.

Television in many respects is similar to mov-ing pictures. Executives of broadcasting and pic-ture industries are holding conferences as to theuse of moving pictures in Television. Of coursethe American Federation of Musicians cannotpermit any moving pictures made with the ser-vices of our members, for theatres, to be usedfor Television.

Television is not going to grow at the expenseof the musicians. As Television grows, the mu-sician is going to grow with it, or we are notgoing to assist in its development. The soonerour critics-I should say our "severe" critics-understand that musicians, who have been ex-ploited for years, studied their instruments for alivelihood and not just to play for the love of it,the better off we will all be.

The employers have exploited the musiciansfor so long that they still think we are not seriousin our demands for better working conditions.Well, I can say with all the sincerity that I pos-sess that we will never stop fighting until we aregiven proper recognition, the same as all otherworkers in the United States and Canada, whoare not criticized as much as we are in their at-tempts to improve their living standards. Theonly difference between the other workers andthe musicians, is that we make our living byplaying instruments, but when it is all said anddone, our problems are practically the same.There is no greater cause on earth than to fightfor your livelihood, and for those who are de-pendent upon you.

This statement is printed here in its entirety for a better understanding of Mr. Petrillo's reasoning. Here inits simplest form is the old "make work" objective. Surely Mr. Petrillo basically realizes that his attempt tofight economic and technical progress must eventually be unsuccessful.

40 Television

"TELEVISION magazine isdoing a splendid job."

"Successful operation of a television station em-bodies, among other things, knowledge of the indus-try's operations as a whole.

"Publication devoted specifically to the problemsof telecasting can contribute much toward the indus-try's rapid growth by focusing attention of broad-casters on the most pertinent factors to be considered.

"In this regard, Television magazine is doing asplendid job."

k Pop(1dePresider',

Television Broadcasters Association

When a publication can be of such service to its readers it

becomes a strong publishing force, and a strong publishing

force is a powerful sales force. Whether you are selling equip-

ment, station time, programs, film production, in fact, whatever

you are selling in television, you'll find TELEVISION magazine,

THE INDUSTRY'S ONLY MONTHLY BUSINESS PUBLICA-

TION, the most effective medium to reach the men who buy.

TELEVISION magazine, 600 Madison Avenue, New York 22.

J. R. Poppele is vice president, secre-tary and chief engineer of BambergerBroadcasting System. and presidentof Television Broadcasters Association.

IN TELEVISION BROADCASTING ...

The outstanding performance of Du Mont Television BroadcastingEquipment stems from 15 years of solid engineering and manufacturing"know how"; from building more television stations than any other company.

Du Mont dependability is built-in. Exclusive Du Mont -engineered features

provide unprecedented video quality. Streamlined simplicity of design brings

Al controls together, makes all working parts easy to get at. These factors, plus

rugged construction, assure trouble -free operation and low maintenance cost.

Permit us to tell you more. We will show you Du Mont equipment under-going continuous testing in the world's largest and most complete televisionstudios. Write or phone for literature, or appointment, today.

00 MONT C/Jp- de 3.--a--eedie-oio right 1 9 lii Mien 13. Liu Mont Laboratories. Li, .

ALLEN B. DU MONT LABORATORIES, INC. GENERAL TELEVISION SALES OFFICES AND STATION WABD, 515 MADISON AVENUE. NEW YORK 22, N. Y.DU MONT'S JOHN WANAMAKER TELEVISION STUDIOS, WANAMAKER PLACE. NEW YORK 3. N. Y. HOME OFFICES AND PLANTS, PASSAIC, NEW JERSEY