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Television contentsTNT BUSINISS MAGAZIN! OP TN! INDUSTRY

Volume IV, No. 1, January, 1947

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. 600 Madison Ave., New York 22, N. Y.Single copy, 35 cents. Yearly subscription inthe United States, its possessions and nationsof the Pan American Union, 54.00; in Canada,$4.50; elsewhere, $5.00. Entered as second-class matter February 20, 1945, at the post -office at New York, New York, under the actof March 3, 1879. Copyright 1947 by FrederickKugel Company. All rights d. Editorialcontent may not be reproduced In any formwithout permission.

COLOR ISSUEDespite reams of testimony, only basic issue of FCChearings on UHF is expansion-by Frederick A. Kugel

TIME AND WEATHER REPORTSCase histories show that a lot of selling can be packedinto 20 and 50 second spots-by Sidney R. Lane

STATUS OF INDUSTRYComplete list of operating stations, grants andapplications-by Mary Gannon

SETTING UP A FILM DEPARTMENTBlueprint for prospective stations to follow in planningtheir film departments-by James L. Caddigan

IATSE VERSUS IBEWTug of war between two rival unions is being carriedinto television-by Martin Schrader

DEPARTMENTS

6

8

12

14

18

TELESCOPE 2Round -up of important industry news

WASHINGTON 4WTVW-Evening Star demonstrates image orthiconequipment; FCC actions-by Dorothy Holloway

ONE MAN'S REFLECTIONSValue of brains in television programming must not beunderestimated-by Dr. Alfred N. Goldsmith

ADVERTISINGAnalysis of current formats; list of current advertisers;TifWDT rate card

PROGRAMMINGField equipment successfully used in NBC studio show;programming schedule of all operating stations

EQUIPMENTCost comparisons of UHF and VHF equipment; diagramsof CBS' dual band receivers

FILMSTelevision news coverage consistently beats newsreels

20

21

27

34

33

EDITORIAL 40

telescopePRODUCTION: Transmitters and studio equip-ment are bright spots in the production picture.RCA has gone on record as being prepared todeliver 21 transmitters by June. DuMont, withone delivered to Detroit, is slated to have an-other six off the lines by mid '47. Once G -E getsrolling, they will materially add to these figures,but G -E seems to be beset with more productionproblems than almost any of the other companies.(For a resume of costs of station equipment,check "Equipment" on page 34.)

Receivers are coming along, but not very fast.RCA is still the only "volume" producer. Produc-tion figures given by Dr. Jolliffe at the color hear-ings in Washington, showed 15,000 to 20,000 re-ceivers for '46; 25,000 due in the first quarter of'47, with a total of 160,000 by the end of '47.After that, facilities will be available to produce300,000 sets a year. Farnsworth receivers nowprobably won't hit the market until March, withplans calling for 60,000 for 1947. DuMont's pro-duction will concentrate mainly on the high priceline, with a new lower priced table model in theworks. Philco and G -E should be out directlyafter the first of the year. Nothing more definitecan be said of production plans at this time.

ADVERTISING: Activity seems to be concen-trated among a few agencies. Young & Rubicamhave four shows weekly-Bristol-Myers (Minit-Rub and Trushay), Borden's, and two for Gulf.Schedule jumped to five when three one -shots(drama, variety and participation shows) wereadded to Borden schedule on alternate weeks. J.Walter Thompson is also carrying a heavy loadwith Ford commercials on the "Parade of Sports"(WCBS-TV), in addition to Standard Brands'"Hour Glass" on Thursday and "Face to Face"on Sunday over WNBT.

At year's end, 31 advertisers were in televisionon a regular contract basis-many of them onmore than one station. List includes:

Alexander Stores, Alexander Smith CarpetCompany, Atlantic Refining Company, Automo-bile Manufacturers Association, Borden Com-pany, Botany, Bristol-Myers, Bulova, Caples Com-pany, Chevrolet, Commonwealth Edison Com-pany, Cutter Cravats, Elgin, The Fair, FirestoneTire & Rubber Company, General Mills, Inc.,Gillette Safety Razor Company, Gruen, Gulf Re-fining Company, Hirshon-Garfield Agency, Lon-gines-Wittnauer, Henry C. Lytton & Sons,Marshall Field, New York Dress Institute, RCAVictor, Reid's Ice Cream, Sears -Roebuck, Stand-ard Brands, Inc., Standard Oil of New Jersey,U. S. Rubber Company, Wanamaker's Depart-ment Store. (For details see "Advertising"page 21.)

Entire industry is waiting for full report onresearch of the Goodyear commercials used onthe Army football games. Results will conclu-sively show television's tremendous effectivenessas advertising medium.

WASHINGTON: FCC decision on Paramount'sinterest in television applications means break-up of Paramount-DuMont set-up, or dropping 5

out of the 6 applications they now have pendingbetween them. Ruling that Par's 50% interestin the Interstate Circuit in Dallas constituted aveto power, and that although Paramount hadnever used their voting rights in DuMont, theyhad never waived them, FCC considers that Du-Mont's WABD in New York and WTTG, Wash-ington, with WBKB, Chicago, and recentlygranted Television Productions in Los Angelesadds up to 4 stations-with only one more to go.DuMont has applications pending in Cincinnati,Pittsburgh and Cleveland, with Paramount in-terests also represented by New England Thea-tres in Boston, United Detroit Theatres Corpora-tion in Detroit, and Interstate Theatres in Dallas.

Solution will probably see re -arrangement ofstock issue with Paramount gradually unloadingtheir DuMont holdings (so as not to affect stockprice). Each company could then press for theadditional three stations for which they haveapplied.

With the Los Angeles grants, NBC obtains itsfifth television okay and ABC its third. One andonly's include Times-Mirror, Earle C. Anthony,Dorothy Thackrey. Grant to Television Produc-tions means the second Paramount subsidiary togo commercial. Don Lee application was not actedupon, inference being that grant was withheldpending outcome of FCC investigation into net-work practices of AM radio operations.

EQUIPMENT: CBS' Peter Goldmark's announce-ment of a dual band receiver capable of receivingboth black -and -white and color in the UHF andVHF attracted high engineering interest. Blockdiagrams of system are reproduced on page 37.Comparative costs of setting up stations underpresent VHF system as opposed to a color stationon the UHF band, shows color running about15% to 22% higher. (See "Equipment," page 34for details.) Color fireworks will be resumed onJanuary 27th in New York. (See "Color Issue,"page 6.)

PROGRAMMING: NBC's use of image orthiconfield equipment in radio studio 8G showed effec-tiveness of mobile units for picking up suchshows as audience participation. Results shouldbe encouraging to prospective stations for econ-omy of operations in initial programming. (Storyunder "Programming," page 27.) Christmas for-mats showed full use of equipment and show-manship, with mobile units used to pick up toydepartments, post office rush, carol services, plusstudio presentations of Christmas stories andspecial children's programs. (Story under "Pro-gramming," page 30, good idea page for prospec-tive stations to clip for reference next year whenplanning their "First Christmas" on the pixwaves.)

STATIONS: At height of color controversy,Walter Damm's Milwaukee Journal application,withdrawn a few months ago to wait for color,was reinstated. Reasons given for change ofmind were recent developments indicating thatpresent black -and -white receivers will not beobsolete by move upstairs, network advancementin programming and increased production of

2 Television

transmission facilities. High fre-quency experimentation is beingcontinued.

With recent Los Angeles grantsto ABC, NBC, Earle C. Anthony,Times-Mirror, Thackrey and Tele-vision Productions, plus a com-munity channel awarded to Broad-casting Corporation of America inRiverside, California, there are now46 grants, 9 operating stations and19 applications pending. See "Sta-tus of Television," page 12.)

PERSONS AND PLACESBill Morris has changed over

from the film department of J.Walter Thompson to a similarniche at BBD&O. His main activitywill be to supervise use of film ontelevision . . Art Rivera, tele di-rector of Donavan & Thomas, hasbeen retained as television consul-tant by the Jean Fields Agency.Arrangement will not curtail hisactivity with Donovan & Thomas.

Gordon Colman associates, spe-cialists in mobile television vehicles,has appointed J. Gordon Perlmutteras Senior Account Executive, andNorman L. Greenwald as public re-lations director ... . Well-knowntheatrical producer John Wildberg,who recently formed the John Wild -berg Production Corp., has been ap-pointed by DuMont in an advisorycapacity . . . William H. Pfau expo-sition promoter has completed ar-rangements to feature a televisiondemonstration which will be in co-operation with RCA -Victor andWBEN for his Buffalo, N. Y. show,scheduled for Feb. 22nd.

Good example of the educationaluse of tele was the BBC televisionprogram about atomic energy whichfeatured a well-known scientist Dr.R. E. Allibone. With the use ofcharts and models he gave a disser-tation of the atomic evolution andits innumerable uses in futurepeacetime applications.

BOOK REVIEWTom Hutchinson, veteran televi-

sion producer, has written a bookwhich is one of the most compre-hensive analyses yet published ofthe many elements that go into tele-vision programming. Hutchinsondescribes the equipment end of pro-gramming as well as the actualtelevision shows. His observationsare based on unduplicated experi-ence in television programming.The book, "Here Is Television,"published by Hastings House ishighly recommended for those whowant a factual report on the prob-lems and methods of television pro-gramming.

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January, 1947 3

WASHINGTON

FIRST prize for showmanship in promoting tele-vision in the nation's capital this month goes to

the Evening Star station, WMAL. By resorting toheaven -knows -what means of persuasion the stationreceived the first RCA image orthicon tubes deliveredin the Washington area. This, in itself was somethingof a coup, since NBC -owned WRC has had an orderon file for months and was understandably miffed tofind itself playing second fiddle to WMAL. (RCA ap-parently goes on the theory it is better to take care offriends before relatives.)

Anyway, the image orthicons were no sooner outof the packing cases, then WMAL's enterprising pub-licist Tom Dolan hired a special showroom for themat Washington's fashionable Statler Hotel and WMALengineers and producers swung into action.

First off, Dolan arranged a special press -radio pre-view of the new equipment. For the rest of an entireweek, the orthicons were on parade for the public-but, and this did not lessen interest in them, "by invi-tation only."

Irony of the situation is that WMAL makes nobones about the fact its television station WTVW isstill in the "dreamboat" stage. WMAL has neithertower nor transmitter and even in its most enthusi-astic publicity estimates it will not be on the air be-fore next spring.

As a result of this stunt, however, there are fewWashingtonians who are in the dark about the sta-tion's television plans. And by virtue of some excel-lent newspaper publicity, most of them know why"image orthicons" make for better tv pictures.

In and Out of TelevisionLos Angeles' grants gave official green light to NBC,

ABC, Times Mirror, Television Productions, Earle C.Anthony and Thackrey. Application of Don Lee isbeing held pending FCC investigation of chain broad-casting practices of AM operation. Earle C. Anthony,also up for FCC investigation because of the firing ofsix commentators, received their grant on a split deci-

WTVW-The Evening Star displayed their new image orthiconequipment at the Statler in Washington and resultant publicityimpressed Washingtonians with the quality of tv pictures. Herechief engineer Dan Hunter is training his camera on Mrs.Nancy O'Grady who is displaying a new refrigerator.

WTVW-Evening Star demonstrates field equipment;six Los Angeles grants- by Dorothy Holloway

sion, with Commissioners Durr and Hyde voting todefer action pending decision on case.

The state of Ohio won its fifth and the city of Toledoits first television station last month when FCCawarded video channel No. 13 to Commander GeorgeStorer's Fort Industries Company. Fort, which is en-thusiastic about black -and -white tv, will spend $189,-000 for its Toledo station.

Indicative of this interest the company has alreadynamed a full-fledged television director. He is JohnKoepf who also holds down the job of Washingtonrepresentative.

Fort has already participated with the help ofDuMont Laboratories, Inc. in a tv demonstration inMiami. Koepf went to Florida with "jeep" televisionequipment to headline the anniversary celebration puton by Commander Storer's Miami station WGBS.

Also this month, the State of Washington picked upits first television grant. The Radio Sales Corporationof Seattle, licensee of KSRC, now has a lien on chan-nel No. 5. Palmer Leberman, president of the com-pany, has announced he will spend $173,900 for hisstation.

Three other bidders, however, backed out of tele-vision before FCC could get around to granting theirapplications.

It came as no surprise when the Connecticut Tele-vision Co. of Booth Hill, Conn. and the InstitutumDivi Thomae Foundation of Cincinnati, 0. withdrewtheir applications. Neither had filed any informationrequested by FCC. The latter company, a church groupin Cincinnati, had proposed to mortgage all its realestate properties in order to finance a television sta-tion. Mary Pickford, America's Sweetheart of the'20's, was to have been consultant on programmingfor the church station.

More surprising was the decision of Ted and Doro-thy Thackrey, publishers of the New York Post, towithdraw their applications for New York and SanFrancisco stations.

The Thackreys, who have also pulled out a total ofthree FM applications, indicated that they had moreimmediate need for capital earlier earmarked forradio.

Just for the RecordLAlmost forgotten in the press of FCC hearings on

CBS color tv is an oral argument on a Commission al-location of frequencies for remote pickups and STlinks now set for Jan. 15. The fight here appears toboil down to whether A.T.&T. will be a common car-rier for such services or whether television licenseesthemselves will undertake the job.

French -British Move Ahead In TVFrench television experts were in America this

month to study our progress. They were impressed bywhat they saw on inspection tours through G -E,DuMont, RCA and CBS. Three scientists on the mis-sion-Stephane Mallein, Yves J. Angel and Gerard J.Lehmann visited FCC, the National Association ofBroadcasters and several manufacturers.

Television CW1112111, receiving tube, all -electronic receiver and radio relay equipment-are the result (4 pionce,inL! an .l te .m1(.11 at RCA Laboratories.

Behind every big stride in Television- RCA Laboratories!

From the scene of action-to your own liv-ing room-these RCA developments basedupon research at RCA Laboratories meantelevision at its finest:

RCA Image Orthicon Camera sees what-ever the human eye sees, even in the lightof a match! Sports events on cloudy daysor in twilight do not fade because thissuper -sensitive camera eliminates the needfor strong lighting.

RCA Mirror -backed Kinescope-search-light brilliance for home television. All thelifelike realism and detail caught by theRCA Image Orthicon Camera is reproducedby this new receiving tube that loses noneof the original brilliance.

RCA Victor Television Receiver-with thenew RCA exclusive "Eye Witness" featurethat locks" the picture, keeps it bright,clear-as steady as a picture on the wall.

RCA Radio Relay equipment enables tele-% ision stations to broadcast events takingplace far from the studio, and eventuallymay link television networks. In televi-sion, as in radio, Victrola* radio -phono-graphs, records, or tubes, if it bears thename RCA or RCA Victor. it is one of thefinest instruments of its kind science hasachieved.

Radio Corporation of America, RCA Building,Radio City, New York 20 . . . Listen to TheRCA Victor Show, Sundays, 2:00 P. M., East-ern Time, over NBC. v.v,cirow T. M. Reg. U.S. Par. OR.

RCA VICTOR table model tele-vision receiver with the exclusive"Eye Witness Picture Synchro-nizer" that assures you brighter,clearer, .steadier pictures. It is nowavailable in some areas-see yourlocal RCA Victor dealer.

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January, 1947 5

COLOR ISSUE

By Freckridc A. KugelBOILING down claims and counter -claims which

have beclouded the main issues at stake, testi-mony presented at the UHF color hearings resolvesitself into one pertinent factor which will affect theFCC decision.

And that is expansion.FCC is little concerned with whether color is me-

chanical or electronic or with the appeal of color overmonochrome. Basic issue is primarily to determinewhether by setting color standards as CBS has re-quested, an official ceiling will be placed on future de-velopments in the UHF band.

Battle lines showed CBS, backed by Zenith, Cowles,Westinghouse, Federal and Bendix who testified infavor of the sequential, mechanical disc standards. Butwidespread disagreement of the balance of the indus-try was typified in the report of Panel 6 of the RTEBwho studied the sequential system (but not the simul-taneous one). Motion for withholding action untilfurther tests could be carried out was approved by 11members (RCA, DuMont, Philco, Farnsworth, Crosley,Stromberg, North American Phillips, TBA, SMPE,NBC and Bell Telephone Laboratories) ; three voteswere cast against further tests (CBS, Westinghouse,Zenith) ; with four not voting (General Electric, DaveFink (McGraw-Hill), Hazeltine, Bendix).

Testimony, pro and con, revolved around the follow-ing points:

Sequential vs SimultaneousCBS system is based on sequential scanning, using

a mechanical color disc. Picture obtained is 48 frames,525 lines.

RCA proposed a simultaneous, electronic system,with 60 frame pictures for higher definition, brighterimages and allegedly more reliable color pictures.

Controversy here centered around flicker character-istics, with CBS' Goldmark stating that contrast-notscreen brightness-was the important factor in a colorpicture at 48 frames. Opponents claimed that as framerate increased, flicker threshold brightness increased-and that acceptance of a 48 frame system would im-pose a ceiling on the maximum brightness of a tele-vision picture.

RTPB poll of industry members on this phaseshowed three votes for sequential system; two votesfor simultaneous; 14 in favor of continuing experi-ments. On the 48 vs. 60 frames controversy, 13 favored60 frames; 4 voted for 48; with three undecided ifsequential system was adopted. If simultaneous isadopted, three were undecided; 15 voted for 60 frames,with no votes cast for 48 frames.

Dual SystemCBS announced development of dual -band receivers,

capable of receiving black -and -white in both UHF andVHF frequencies, as well as color in the UHF band.Present-day black -and -white receivers could not be ad-justed. CBS claims that incorporation of the dual bandin manufacturing process would ultimately be less ex-pensive and more satisfactory than adding a converter.

RCA reiterated that with the simultaneous system,a radio frequency converter could be installed in pres-ent-day sets, to receive black -and -white in the UHFrange, thus eliminating obsolescence factor in presentsets.

Illustration above:Left: CBS president Frank Stanton (flanked by twostenographers) gives his testimony before the FCC com-missioners. At right are Commissioners Durr, Walker andDenny, in usual order.

Electronic vs MechanicalAlthough two sy:,temr, are championed by the oppos-

ing factions, that's not main issue. CBS' Goldmarkdisclosed that he was now working on a single elec-tronic tube which could be incorporated into the pres-ent sequential system, replacing the color disc.

RCA's simultaneous system is based on using threecathode ray tubes to pick up the three colors, trans-mitting them at once i.e., "simultaneously." (CBS tes-tified that they had experimented with this system anddiscarded it in 1940.)

DuMont showed FCC members an experimentalmodel of a Trichromoscope Tube. Development of this,if successful, would mean one tube instead of three asproposed by RCA in their simultaneous system andcould be used with either the simultaneous or sequen-tial system.Propagation Tests

CBS testified to 1700 hours of field testing. Oppo-nents detailed need for further field testing, suggestedinstalling receivers in homes in various areas and test-ing over a six to nine month period under all condi-tions.

Point seemed of little weight to FCC CommissionerJett, who stated that he believes propagation testswere sufficient if all other factors are worked out.Economics

Dollarwise, color equipment runs from 15% to 22%higher than present black -and -white (detailed cost fig-ures under "Equipment," page 34). Receivers are esti-mated at 10 to 30% more-a fact which CBS says willbe offset by the appeal of color both to the home viewerand to the advertiser.Time Table

CBS, if application is approved, plans to inauguratepartial color television service in New York "almostimmediately." President Frank Stanton predicted thatcolor television could be brought to the public withina year.

On deliveries of UHF transmitter and studio equip-ment, Westinghouse plans to go into production firston slide and film studio equipment and transmitters,following with live pick-up equipment. Time estimatedfor delivery is 18 months. However, Westinghouse alsopointed out that because of the limited power thatcould be generated in the 480 to 920 frequency bandwith present tubes, their laboratories were now work-ing on a tube to generate power levels of at least fivekilowatts over the entire band. The laboratories haveprogressed to a point where they have their first fullscale model sealed off in test now.

Federal, who made the original CBS transmitternow in use, has another one completed, and could take

orders for 5 to 7 with deliveries starting in the fall.On receivers, Zenith testified that they had com-

pleted about a dozen sets and Bendix Aviation statedthat they had an order for 50 receivers from CBS.

Production figures were shown by RCA -15 to 20,-000 receivers in 1946; 160,000 in 1947; 300,000 in1948; with other companies detailing their productionplans and prices of present standard receivers.January 27th Hearings

After a full week of testimony in Washington, FCCmembers toured the DuMont plant and were shown theexperimental work being done on all phases of colorand monochrome television, as well as the assemblylines for receiver production. Following this, CBS gaveanother demonstration of its color system-held thistime at a Westchester inn rather than the CBS labora-tories.

Surprise Mist to the hearings came with FCC's an-nouncement that the color television hearings wouldbe resumed in a federal court room in New York, theweek of January 27th. At that time, CBS is requested"to repeat for the record actual demonstrations of itscolor television system, similar to those which havebeen made to the Commission and other interestedpersons."

All parties involved in the hearings have been re-quested to be present and will be given the opportunityto cross-examine CBS execs on every phase of the dem-onstration. Invitation to demonstrate their own de-velopments has also been extended to the opponents ofrainbow video now. After New York session, hearingswill be resumed in Washington to permit further cross-examination of both factions.

Originally Chairman Denny made it clear that thedemonstrations of both CBS and RCA, which the com-mission had previously seen, would not be officially partof the record, although he admitted they were boundto have some bearing in influencing the final decision.Sudden change -over, coming on the heels of the com-mission's visit to DuMont and CBS, has given rise tomuch speculation.Summing It Up

PROPONENTS: Commercialize color television inthe UHF band now. Give the public and the broad-caster an opportunity to choose between color andpresent monochrome systems.

OPPONENTS: Withhold adoption of Vandards un-til further development of the various ricithods of colortransmission (now underway) and further field testsin the UHF band are completed.

FCC'S PROBLEM: To decide whether setting stand-ards for color television now will or will not impedefurther advancement and development of the televisionart.

Three key FCC staffers in the color hearings are, left to right: Curtis Plummer,chief of the television engineering division; Harry Plotkin, assistant general counselwho is conducting the hearings; George P. Adair, chief engineer of the FCC.

TIME AND WEATHER

Top two: The twin themes of Elgin advertisingare distinctly conveyed over television withLord and Lady Elgin featured against a back-ground of stars. Bottom: Association of styleand accuracy for people who go places wasemphasized in the Waltham filmed commer-cials.

8

NO LONGER does a disem-bodied voice say "the correct

time is-" or "tomorrow's weatherwill be-by courtesy of-." Televi-sion has added the sponsor's visualtrademark and product to whathitherto resembled a somewhat hur-ried telephoned telegram. But ithas also created new problems forthe advertiser. How to get the timeand weather information across andat the same time create an interestin the product without alienatingthe viewer is a problem that has en-gaged the following watch manu-facturers: Bulova, Elgin, Waltham,Gruen, Longines-Wittnauer, andGeneral Electric (clocks). Theweather prediction has thus farbeen the television predeliction ofBotany Woolen Mills and Reid'sIce Cream.

SCHEDULES

BULOVABulova sponsors time spots on

two New York stations, WNBT andWCBS-TV. Through the baseballseason they have sponsored the timesignal which was given at the be-ginning, middle and end of ball -games over WNBT. In addition tothis their contract with the stationcalls for Monday, Thursday, andSaturday 20 -second spots. Theschedule for WCBS-TV calls fortwo spots on Saturday, opening andafter first program break, and open-ing signal on Thursday and Sunday.

FormatOriginally the Biow Agency

(Bulova ad agency) utilized posterswith the name Bulova on them.One poster was watch -shaped withthe hands set at the correct timewhile a second hand swept aroundfor sixty seconds during which timethe only sound was backgroundmusic. Later commercials have beenmore interesting, having been madeby the Well -Got Trailer Service onfilm which features church bellswith the name Bulova spelled outletter by letter and superimposedwith each peal of the swingingbells. An off -screen announcer givesthe correct time.

The latest commercial which Bul-ova is using for television is in-tegrated with the device of theBulova Goddess of Time. Thesecommercials are on cards, but asstation coverage is extended theywill be translated to film.

The first card carries a graphicrepresentation of the Goddess ofTime who is placed over the phrase"America runs on BULOVA time."The second carries a close-up of thelatest model. The third gives thecorrect time and carries out thetheme that "America runs on Bul-ova time" by having a blow-up ofan outline map of the U. S. with awatch face painted across it withthe name "Bulova" again promi-nently displayed.

Here is a time spot which car-ried the Christmas gift value of thewatch:

Script1-Goddess of Time (picture)

"Meet the Bulova Goddess ofTime"-world-wide symbol offine watchmaking."

2- ( A) Watch (picture)(A) "See this handsome BulovaExcellency watch -21 jewels-at better jewelers everywhere."(B) Santa Claus (picture)( B) "Yes-there is no finer giftthan a watch - and no finerwatch than a Bulova. Bulova-gift of a lifetime!"

3-Clock (picture)"It is exactly P.M. B -U -L-0 -V -A Bulova watch time.America runs on Bulova time."

Bulova well realizes the value oftelevision time spots having learnedwith its very successful use of ra-dio. Its radiotime spot bill runs intomillions annually, and they have nointention of letting valuable tele-vision time spots get lost to compe-tition.

ELGINElgin has contracted for time

spots on five stations through itsagency J. Walter Thompson. Tues-day they are on WABD at 8:30P. M. On Sunday they have spon-sored the time signals at the begin -

Television

SIGNALS

ning, middle and end of all profes-sional football games in addition tothe 8 P. M. and final live spot thatevening over WNBT. In addition tothis they are on twice weekly overWCBS-TV, WBKB and WPTZ.

7ormatThese are 20 second commercials

on film which opens with shots ofstars twinkling in the sky and tiesin with the advertising theme thatElgin is timed to the stars. A LadyElgin is shown coming through thestarry sky to full screen propor-tions. This fades and is succeededby a Lord Elgin watch which is inturn succeeded by a clock paintedblack with white sweep hands whichis superimposed over the film givingthe correct time. Commercial ishandled with off -screen narration.An example of a short audio com-mercial for Elgin television timesignal spot is:

ANNOUNCER: - (Quietly -'Friendly) "America's traditionalgift since 1865! The Elgin Watch,timed to the stars. See the LadyElgin . . . the Lord Elgin . . . rea-sonably priced, exquisitely styled. . . the American product of fourgenerations of Elgin master crafts-men.

"It is now (correct time) o'clock,Elgin Observatory Watch Time . . .

Timed to the stars!"WBKB Chicago have experi-

mented with live time presenta-tions. One of these one -minute com-mercials opened with a beautifulmodel who comments about watchesin general and then calls attentionto the one she is wearing. Nar-ration off -scene continues the com-mercial, following with a close-upof the model giving the correcttime.

Elgin is completing a series ofnew 20 -second film animationswhich stress their standard adver-tising theme of accuracy, beautyand dependability.

GRUENGruen through its agency Mc-

Cann-Erickson has a contract fortwo spots a week over WCBS-TV,

January, 1947

BY SIDNEY R. LANE

Thursday and Saturday at 9:15P. M. They signed a one-year con-tract with the station which willrun until next August.

FormatGruen uses a one -minute film

which opens with a shot of TimeHill (the Gruen factory) and dis-solves to a picture underscored withmusic and a shot of a Pan-Amer-ican plane. Off -screen announce-ment proclaims "Gruen, the officialwatch of the Pan-American AirLines." This is followed by a dis-solve to a close-up of the watchmechanism, music fades down andstudio announcer cuts in saying"Nine P.M. G -R -U -E -N (spelledout) precision watch time. See thenew Gruen Curvex!" There areabout ten variations of this finalsentence which are changed period-ically.

LONGINES-WITTNAUERLongines-Wittnauer holds down

the 9:30 P. M. spot Tuesdaythrough Thursday on WABD.Agency is Arthur Rosenberg Com-pany who has experimented with30 -second motion pictures and one -minute live spots. At one time theyexperimented with a 15 -minuteprogram called "Time Honored Bal-lads" which was produced mainlyfor the company's sales force, andfeatured a quartet singing for "theworld's most honored watch."Format

Present format is quite simplebeing a one -minute presentationwhich is built around a blow-up ofthe face of the Longines-WittnauerWatch which has an accurate clockbehind it. As the studio camerafocusses on this the following tran-scribed message is picked up:

"If you like cross -word puzzles,here is an eight letter word thatmeans 'time' all over the world.The eight letters are L -O -N -G -I -N -E -S. Longines, which alsostands for the world's most honoredwatch. Longines watches are madeby one of the world's oldest finewatch factories, established in 1866.The honors which Longines watches

ItCJANY

The Botany lamb threads his way through aseries of seven adventures on cartoon filmsprepared by Douglas Leigh. Series have beengiving weather (and neck tie) informationsince 1941.

9

have acquired were mostly won ininternational competitions, such as,ten World's Fair grand prizes, and28 gold medal awards. Should youdesire a fine watch, a good name tolook for is `14 -0 -N -G -I -N -E -S,' theworld's most honored watch, aproduct of the Longines-WittnauerWatch Company."

This is one of four variationswhich are used over WABD.WALTHAM

Waltham, though temporarilywithdrawn from television sponsor-ship of time signals, did a note-worthy job. Through N. W. Ayerthey nailed down the 9 P. M. signalon Friday, plus the time spot fol-lowing the main boxing bout. FromJanuary. to July of 1946 they alsosponsored the Wednesday nighttime spots on WNBT's athleticevents.Early Format

The first subject illustrated wasa simple little story-boy waits for

girl-girl arrives late-her excuse-no watch. They look at watchesin jewelry store window-they en-ter store and he buys her a watch.

A second commercial was madeat the same time. The theme ofthis one was centered on the im-portance of time in the modernworld. Shots of planes, air mail,and busy people checking theirwatches put the story across.

The film part of each commercialtook 45 seconds and the remaining15 seconds were used to show theactual time. Since it was impracti-cal to televise direct full screen aWaltham watch three quarters ofan inch high, a greatly enlargedphotograph was used minus thehands. Then through a techniqueoften used in film animation, actualscale models of the hands wereset in place on the photograph andrun from behind by clock move-ment. A fixed focus lens projectedthe image directly on the icono-scope tube in WNBT's film projec-

tion studio. This device was usedfor all the commercials. The watchdesign was changed by substitutingphotos of different models.

Lear FormatN. W. Ayer produced two films

for the Waltham Watch time sig-nals which tied in with woman'spreoccupation with fashions. Themeof films, which were made by Cara-vel, carried out the association ofelegance and Waltham. Conovermodels displayed fashionable attireagainst sophisticated backgrounds.One film was built around a travelscene in a railroad station, and theother took place in a box at theopera.

Waltham tried to produce spotson a very limited budget at first-but found that each succeeding pic-ture demanded a greater budget ifquality were to be achieved.

CENERAL ELECTRICAt General Electric's WRGB each

night at 7:29:30, thirty seconds be-

Longines-Wittnauer in addition to regular one -minute spot over WABD put on a special fifteen -minute show which wastied in with a sales promotion program. Featured on the quarter hour performance was a quartet singing the time-hon-ored ballads for "the world's most honored watch." Blow-up of the face of the watch is used for the regular spots.

fore programming begins, they tele-cast a short commercial on thetime using the G -E electrical clock.This is a filmed commercial whichdemonstrates various models of theclock.

WEATHERAt present three companies are

sponsoring weather predictions, andthey do a job which is far moreintriguing than the Weather Bu-reau.

BOTANYThe oldest sponsor of weather

forecasts is Botany Mills throughtheir agency Alfred J. Silbersteinand Bert Goldsmith. Botany isprobably the most consistent spon-sor in television. Their presentschedule calls for the weather re-port every Thursday at (9 P. M.over WABD) and Friday night be-tween 8:00 and 10:00 P. M. overWNBT. They also sponsored theweather report over the latter sta-tion which preceded all Saturdayfootball games.

Format consists of approximate];seven variations of the Botanywooly lamb which is used to illus-trate the weather in 20 -second ani-mated cartoons. These were pre-pared by Douglas Leigh.

The Botany series over WABDhas been on the same film whichwas produced back in 1941 and fea-tures the antics of the cute lambwho threads his way through theletters of the word Botany as theweather prediction is given. Theeconomy of filmed commercials isdemonstrated by the length of timewhich these films have survived. Ithas been found that the averagefilm is good for one year beforenew prints are needed. Main wearoccurs on the sound track.

GENERAL ELECTRICWeather spots are scheduled for

Tuesday and Wednesday nights andare generally tied in with someG -E product that will alleviate thestress of weather-for example,electric fans when it is hot andelectric blankets when cold weatheris predicted. These are handled onslides and are accompanied by amusical fanfare.

REID'S

Reid's Ice Cream sponsors aseries of weather forecasts threetimes a week, Thursday, Saturdayand Sunday at 8:30 P. M.. overWCBS-TV through Doherty, Clif-

Reid's series of weather jingles cantake care of sixty varieties of weatherchanges, which stress that ice creamwill mix with any kind of weather.

Here's audio that accompaniesthese filmed cartoons:

I. "And ray! . while you're outtomorrow, stop in at the store featur-ing Reid's Ice Cream

2. In

sundaefind

a soda . . . your favoriteor just plain . . . you'll

3. Reid's truly delicious ... creamysmooth . . . nourishing too. Just besure you ask for Reid's Ice Cream. . . R -E -I -D apostrophe-S."

ford and Shenfield. These are aseries of one -minute animated filmsaccompanied by a library of sixtyvarieties of weather, each of whichhas a separate jingle. Here is atypical example of a Reid commer-cial. Following is for dismal wnth-er :

Hand stamping Reid's seal in wax.(CUE)"Now . . . the latest weather fore-cast . . . brought to you by Reid'sIce Cream . . . famous for qualitysince 1874.

(Insert appropriate weather jingleand cartoons)Three children in a row flexingtheir over -sized arm muscles

(CUE)

"Yes, it's dismal weather, so besure your young ones get the nour-ishing, body-building food theyneed . . : including Reid's IceCream.

Children lined up at table, bibs inplace, licking lips and eyeing largeplates of ice cream. "Mr. R" smilingin background"Reid's provides all the health -giv-ing elements of rich cream andwholesome milk products.

Children after having eaten"And ... it's so appetizing. Ask for. . . Reid's Ice Cream . . . R -E -I -Dapostrophe-S.

Weather summary"The temperature outside thestudio now is-. Tomorrow'sweather

(PAUSE)Hand stamping Reid's seal in wax"And-don't forgetname that has symbolized qualityice cream since eighteen seventy-four!"

Charges

Charges for time and weatherspots differ over various stations.WNBT charges are $50.00 (split$25 for transmitter and $25 forfacilities charge.) Time signals aresold only to watch companies butweather reports may be sponsoredby any company desiring to do so.

WABD charges $30 per spot for2 minutes or less.

WCBS-TV charges $30 for a sta-tion break of 20 seconds.

Reid's weather reports come to$50 net for one minute.

Summing It Up

Time and weather spots are goodbuys on television today. They offerthe sponsor comparatively inexpen-sive time, uncomplicated productionand a chance to sew up the bestspots now.

January, 1947 II

By Mary GannonAT. year's end, there were nine operating stations,

46 grants and 19 applications pending FCC ac-tion. First newcomer in '47 will be WWDT, EveningNews, scheduled to open in Detroit this month, withKSD-Pulitzer Publishing Company pushing for aMarch opening in St. Louis. Both stations have al-ready experimented with their mobile equipment on alimited programming scale. With transmitter produc-tion stepping up and construction controls easing,tempo of "opening nights" will steadily increasethrough 1947.

In Cleveland, Scripps Howard Radio has orderedequipment from DuMont for spring delivery and hopesto start tower and transmitter building very shortly.In Boston, Westinghouse announced purchase of a10 -acre site to house a new television -radio center,and down in Fort Worth, Texas, Carter Publications'television station KCPN will have a studio "largeenough to drive a herd of cattle through."

Crosley Broadcaiting, recently awarded grants inCincinnati and Columbus, (with another pending inDayton), started construction of their new $170,000TV and FM site in suburban Cincinnati. Antennatower, 575' above ground level (1300' above sea level)will contain a turnstile antenna for television on theupper portion, with FM antenna on the lower portion.Transmitter and studio facilities will be located at thenew site, with studios constructed with extremely highceiling and like -design for production of televisionprograms. Cincinnati station will have call lettersWLWT.

In analyzing the grants, NBC has received okayson all their applications, giving them the green lightin Washington, Cleveland, Chicago and Los Angeles.These, plus operating station WNBT in New York,gives them the maximum of five. ABC has three okays-Los Angeles, Chicago and Detroit-with two pend-ing in New York and San Francisco. CBS, if deniedtheir FCC application to commercialize present colorstandards, will curtail their color experiments and goahead with black -and -white. At present, only CBSfoothold in the black -and -white field is their operatingstation WCBS-TV in New York.

12

Of the 140 market areas in which FCC have allo-cated television channels, only four-New York, LosAngeles, Washington, D. C. and Philadelphia-areeither filled or have applications pending to use avail-able pixwaves. This leaves such top ranking marketcenters as Chicago with two open tele spots (and pos-sibly three if Zenith withdraws its grant for a black-and -white slot as testified to at the UHF hearing) ;Boston with two; Detroit with two; Pittsburgh withthree; Cleveland with two; St. Louis with four; andSan Francisco with two.

Population -wise, present applications will bringvideo to 1/3 of the nation's population, with 37 cities,25 states and the District of Columbia represented bygrants or applications.

FCC decisions are now awaited for New York,where with the recent withdrawal of Thackrey(WLIB, Inc.) there are five contenders for the fourremaining channels. Betting has it that Debs will beleft out in the cold, as they rated low in the financialscale. Reason for delay in issuing order is said to becaused by resignations of FCC men who had beenworkinv on the decisions.

Operating television stationsCity Name of Company and Call LonersChicago, Ill. Balaban & Katz Corporation-WBKB

Los Angeles, Cal. Don Lee Broadcasting System-W6XAO

Television Productions-W6XYZ

New York, N. Y. Columbia Broadcasting System-WCBS-TV

Allen B. DuMont Laboratories, Inc.-WABD

National Broadcasting Company-WNBT

Philadelphia, Pa. Philco Products, Inc.-WPTZ

Schenectady, N. Y. General Electric Company-WRGB

Washington, D. C. Allen B. DuMont Laboratories, Inc.-WTTG

Television

City Salo:Rank Population Number of

Chan's*IsApplications

GrantedApplications

Pending

Albuquerque, N. M.

Ames, Iowa

77,492 Albuquerque Broadcasting Co.-KOB

Iowa State CollegeBaltimore, Md. 13 1,046,692 3 A. S. Abell & Co.

Radio Television of Baltimore, Inc.WBAL-Hearst Radio

Boston, Mass. 5 2,350,514 5 Westinghouse Radio Stations, Inc. New England Theatres, Inc.(Waltham, Mass.) Raytheon Manufacturing Co.

Buffalo, N. Y. 14 857,719 4 WBEN, Inc.Chicago, Ill. 2 4,499,126 7 American Broadcasting Co., Inc.

National Broadcasting Co.Zenith Radio Corp.WGN, Inc. (Chicago Tribune)WBKB-Operating

Cincinnati, Ohio 16 789,309 4 The Crosley Corp. Allen B. DuMont Laboratories, Inc.Cleveland, Ohio 9 1,214,943 5 National Broadcasting Co. Allen B. DuMont Laboratories, Inc.

Scripps Howard Co.Columbus, Ohio 29 365,796 4 The Crosley Corp.Dallas, Texas 27 376,548 3 KRLD Radio Corp. Interstate Circuit, Inc.Dayton, Ohio 44 271,513 2 The Crosley Corp.Detroit, Mich. 6 2,295,867 5 The Evening News Association United Detroit Theatres Corp.

(WWJ)King-Trendle Broadcasting Corp.

(ABC)Fort Worth, Texas 51 207,677 3 Carter Publications, Inc.Indianapolis, Ind. 24 455,357 5 William H. Block Co.Johnstown, Pa. 100 151,781 1 WJACLos Angeles, Cal. 3 2,904,596 7 W6XYZ-Operating

W6X AO-OperatingAmerican Broadcasting Co., Inc.Earle C. Anthony, Inc.National BroadcastingDorothy ThackreyThe Times-Mirror Co.

Louisville, Ky. 33 434,408 2 Courier Journal & Louisville TimesMilwaukee, Wisc. 15 790,336 4 The Journal CompanyMinneapolis, Minn. 11 911,077 5 KSTP

(St. Paul) Minnesota Broadcasting Co.New Orleans, La. 31 540,030 5 Maison Blanche Co.New York, N. Y. 1 11,690,520 7 WABD-Operating American Broadcasting Co., Inc.

(N. E. New Jersey) WCBS-TV-Operating Bamberger Broadcasting Co.WNBT-Operating Bremer Broadcasting Co.

Debs Memorial Radio Fund, Inc.News Syndicate Co., Inc.

Philadelphia, Pa. 4 2,898,644 4 Philadelphia Inquirer Philadelphia Daily News, Inc.William Penn Broadcasting Co.WPTZ-Operating

Pittsburgh, Pa. 8 1,994,060 4 Allen B. DuMont Laboratories, Inc.Portland, Oregon 22 406,406 5 Oregonian Publishing Co.Providence, R. I. 18 711,500 1 Outlet Co.Richmond, Va. 48 245,674 4 Havens & MartinRiverside, Cal. Broadcasting Corp. of AmericaSt. Louis, Mo. 10 1,367,977 5 Pulitzer 'Publishing Co.Schenectady

t Albany -Troy)23 431,575 5 WRGB-Operating

Salt Lake City, Utah 58 204,488 5 Intermountain Broadcasting Co.San Francisco, Cal. 7 1,428,525 6 Chronicle Publishing Co. American Broadcasting Co., Inc.

(Oakland) Associated Broadcasters, Inc. Don Lee Broadcasting SystemSeattle, Wash. 19 452,639 4 Radio Sales Corp.Stockton, Cal. 108 79,337 1 E. F. PefferToledo, Ohio 34 341,663 1 Fort Industry Co.Washington, D. C. 12 907,816 4 Bamberger Broadcasting Service,

Inc.The Evening Star Broadcasting

Co.National Broadcasting Co.WTTG-Operating

January, 1947 13

Cine Kodak Special -16 mm. with200 ft. film chamber.

MANY factors will control theamount of film production in

which any individual local stationmay become involved. Inasmuch assensible management would nevercondone the expenditure of thou-sands of dollars for equipment andpersonnel that might be used atvery infrequent intervals, it is im-perative that television film depart-ments be custom tailored to fit thespecific needs of a station. But thebasic pattern of a film departmentwill be fundamentally the same. It'smy belief that the television filmdepartment will be a technical or-ganization and that the talent re-sponsible for scripts and directionwill come from the station's regularproduction staff.Production Requirements

Professional advice and recom-mendations of an experienced cam-era and laboratory technical staffshould be secured before equipmentis ordered. Next the station shoulddetermine whether it will produceon 16mm., 35mm. or both. In net-work production centers, it may bean economic possibility to producefilm using equipment manufactured

in both gauges, but in the localaverage video station it is almost acertainty that one gauge or theother will have to be selected forpermanent use.

In all probability television filmproduction will be classified undertwo major types. The special events(news) type of production whichwill require light, easily movedcamera equipment with arrange-ments made for speedy processing;and the commercial type of film pro-duction which will be required tomake the "Video -Transcriptions"for a station's local non -network ac-counts. Because of the involved pro-duction and editing techniques andthe elaborate camera, sound, andlighting equipment demanded forthe successful production of a com-mercial picture, it is recommendedthat, except in unusual cases, suchproductions be handled by an es-tablished commercial motion pic-ture producer.Camera Section

In the blueprinting of a televisionfilm production department eachsection should be given careful con-sideration and the demands peculiar

to its functions be provided for.The camera section, apart from theusual office space and furnishings,should have available space in aventilated, fireproof, safety ap-proved film vault for the storageof raw stock and a convenient darkroom, properly equipped with safelight fixtures and adequate workingarea, for the loading of cameramagazines. Lockers or suitableclosets should be provided for thesafe, clean storage of cameras andtheir accessories. A spacious, toolequipped, work bench should be pro-vided for camera maintenance andrepair. Communications should pro-vide twenty-four hour, self -oper-ated service. Printed camera cap-ticn sheets should be designed andprovisions should be made to keepan ample stock of such forms avail-able at all times. The above arejust a few indications of the spe-cial considerations and provisionsthat will have to be included in theplans for such a section.Camera Equipment

Basic camera equipment forspecial events coverage should in-clude two silent automatic hand

14 Television

cameras and one tripod. A versa-tile lens assortment, wide angle totelephoto, should be part of thebasic equipment. Television will un-doubtedly shoot the interview typeof story "live" with a video camera.The technique of shooting specialevents with a silent film camera andlater dubbing sound effect and com-mentary onto a projector synchro-nized disc, tape, or wire recordershould prove most practical. In the35mm. class a camera of the typesuggested, equipped with a singlelens, will cost approximately $330plus tax, while the same cameraequipped with a lens turret andseveral lenses will cost approxi-mately $1,400 plus tax. Tripodequipment suitable for service inthis field will range in price fromapproximately $170 to over $950.Comparable camera and lens equip-ment in the 16mm. gauge wouldcost approximately $220 to over$300 plus tax.

If the type of production de-mands the greater professionalversatility, the positive steadiness

In writing this article, JamesL. Caddigan, manager ofthe film department, NewEngland district, ParamountPictures, has drawn on histwenty years experience inthe motion picture industry.

and the extra footage made avail-able by the larger magazines ofthe heavier tripod mounted profes-sional camera, the station can ex-pect to appropriate approximately$3,800 plus tax for such a 35mm.camera and approximately $2,900for like 16mm. equipthent. The ap-proximate price of the 35mm. cam-era would include 3 lenses whilethe $2,900 listed for the 16mm.camera would purchase the cameraonly. A suitable set of lenses forthe 16mm. camera would cost ap-proximately $600. The above priceswill give an approximate apprecia-tion of the value of professionalcinematographic equipment.

Special consideration should begiven to camera equipment for cov-erage of sports events. The tripodselected should permit smooth, fastpanning and tilting and should beequipped with devices to preventslipping and being knocked over.The camera of course should be thetripod mounted, large magazinetype, equipped with an electricmotor which will give the necessaryfreedom needed to successfully fol-low whatever plays may developduring the game. As a basic unit,this type of camera should beequipped with a 12 -volt batterypowered motor and provisionsshould be maintained at the stationfor the necessary equipment to keepsuch batteries charged. If the ap-propriation is available, the samecamera should be dual equippedwith a 110 -volt, 60 cycle A. C. motor

for use in locations where this typeof current is available.

It is my definite opinion thatnothing but professional equipmentin perfect condition should be usedin the production of motion picturesfor video projection. Each suc-ceeding step beyond the originalsubject in the photographic andmechanical reproduction introduceslosses in quality that poor equip-ment should not be allowed to am-plify. Video projection will demandas near perfect a television stand-ard negative or positive that it isposible to project to the video -filmpickup.

Outside ContractsSound -on -film motion pictures

present many production and pro-cessing problems that will un-doubtedly limit this type of pro-duction to only the most ambitiousof video film production depart-ments. Equipment costs of cameraand sound recording units alone runapproximately $8,360 for a 16mm.unit to approximately $18,000 for a35mm. unit. This will undoubtedlybe responsible for the local tele-vision station contracting withsome established producer for thistype of presentation. In writingsuch a contract, special attentionshould be given to the demands andpeculiarities of video -film projec-tion and production. There is littledoubt that the future will find suchgroups as the Television Committeeof the Society of Motion PictureEngineers definitely setting nega-

Basic Layout-Film Production Department.

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tive and print standards for video -film projection. When such stand-ards have been decided upon, theyshould be embodied as "musts" incontracts signed by local stationsfor the outside production of filmprograms. Other considerations,peculiar to television, such as re-hearsals, timing, advertised andscheduled telecasts, will demandthat such things as a delivery dead-line guarantee be included in thecontract.Camera Personnel

The basic camera section shouldhave at least one professional mo-tion picture cameraman on its fulltime staff. As a measure of pro-tection definite arrangementsshould be made with two additionalprofessionals who can be locatedfor assignments at any moment ofthe night or day. In the local tele-vision station the staff cameramanwill, in all probability, assume theduties of film editor and this factshould receive consideration whenqualifications are reviewed.

Because of the unpredictabletime occurrence of the news typeof special event, a foolproof systemshould be instituted to insure anadequate supply of raw stock (neg-ative and positive) and enoughcamera magazine to permit the con-stant availability of loaded maga-zines.

Lighting Equipment

Basic lighting equipment for aspecial events camera section shouldinclude 10 to 12 of the portable"Folding Music Stand" type ofstands and reflectors heavy enoughto take the "Movie -Flood" type oflamp. In addition a supportingframe should be designed, for boththe 16mm. and 35mm. automatichand camera, that will screw tothe tripod hole in the camera baseand will permit two light reflectorsand photoflood lamps on either sideof the lens of such a hand-heldcamera. This type of portable light-ing equipment will not add greatlyto the weight of the camera andwill permit "roving" closeups tothe limitations set by the lengthof wire available and the freedomof movement conditions at the in-cident. In many situations where itwould be impossible to move in evenportable stand lights, the hand-heldcamera equipped with attachedphotofloods will get the shot. Con-sideration must be given to ade-quate and serviceable lengths ofwire for use with such lightingunits. Such cables can be made upin between fifteen and twenty-fivefoot lengths and be equipped withlock -connectors to prevent loss oflight due to lines pulled apart.Plugging boxes, correctly fused,should be available for use in sit-

uations where it is necessary toconnect to the service mains inorder to provide a line heavyenough to carry the light load. Alicensed electrician will have to beavailable to handle installations onlight jobs of this type.

The chief cameraman in chargeof such a section should establishadvance contact with firms whorent portable lighting equipment.Thus speedy procurement can beachieved should a sudden situationarise that required more lightingthan the section had available.Rental price scales and transporta-tion arrangements should be agreedupon beforehand. Though seldomused, a stock of photographic flaresshould be kept on hand for the onein a million story that could not beshot any other way at a locationaway from all power sources atnight. It can be expected that thetelevision station that enters intothe production of commercial mo-tion pictures will use their videostudio and lighting for such pro-ductions and will plan accordingly.

The local television station maydesire to rid itself entirely of theresponsibility of operating a filmproduction department and it is en-tirely possible to contract for thecomplete film coverage of specialevents as well as commercials withan outside motion picture producer.Extreme caution should be exer-cised in the placing of such a con-tract. A professional camera staff,ability to provide 24 -hour service,the type and amount of cameraequipment available for the sta-tion's continued use, possible con-tracts with other competing videostations, and reputation gainedthrough past activity in the partic-ular type of coverage the stationmay desire should be carefully con-sidered. Aggressive competition ofthe scoop producing type will makeit very necessary that at least thecamera section be under the imme-diate supervision and control of thetelevision station's management asa directly operated station activity.

Lab SectionThe lab or processing department

presents another section that leavesthe way open for a wide variety ofequipment and operational tech-niques. The station operated sectionwill, however, be set up with one oftwo basic types of equipment. Thehand processing technique will re-quire tanks to hold the chemicalsolutions of the negative and posi-tive developers; tanks or tank forthe "wash," and tanks or tank for

16 Television

the hypo "fixing bath." Racks,usually wooden, will have to be pro-cured, upon which the undevelopednegative or positive will be racked.To complete the process, a drying"cabinet" will have to be devised inwhich either the heated air or pro-cessed film should be moving.

Tanks for this type of installa-tion, holding one to six racks, wouldcost approximately $75 to $150each and the associated racks, hold-ing 200 ft. of 35mm. film wouldcost in the vicinity of $5 apiece.Plumbing and filters necessary tosupply water and drains for thistype of processing would cost ap-proximately $500 for the averagelab. The important drying cabinet,depending on the amount of film tohe handled per hour, would costfrom $500 up to construct. Thehuman equation in this type of filmprocessing is of utmost importance,as the automatic controls of ma-chine processing are not availableand the individual judgment of thelaboratory technician is responsiblefor the final quality of the pro-cessed print or negative. If a sta-

tion decides on this type of opera-tion every effort should be made toprocure the best negative techni-cian and the best positive techni-cian obtainable. When consideringqualifications of applicants for theposition of lab technician a back-ground of motion picture labora-tory experience should be a must.

Air conditioning, (temperature,humidity, and air cleaning control)is an important factor in the opera-tion of the lab section and suchfacilities must be provided in orderto insure against loss or damage ofan irreplaceable negative.

The alternate technique wouldutilize the film processing machinethat handles the complete proces-sing chain under scientific methodsof automatic control, from the timethe exposed film is placed in themachine until it appears finishedand reeled for projection. Machinesare available that will handle 16mm.negative, positive and reversal filmas well as the larger 35mm. equip-ment for negative and positive pro-cessing of the wider gauge stock. A16mm. machine would cost ap-

Bell & Howell, Eyemo 35 mm. camera, shown with spider turret, focusingalignment gauge, 400 ft. magazine.

proximately $5,400 plus tax and the35mm. machine would cost in thevicinity of $14,000 plus tax.

Both types of processing will de-mand a laboratory section, plannedand constructed to permit the main-tenance of a high degree of con-stant cleanliness. Electrical circuitsand switching devices in this areashould be of the vapor proof, safetyapproved type and all white lightand safelight fixtures should ofcourse be vapor proof equipped. Asa safeguard against the fogging ofa negative or print, by the suddenflooding of light through an openeddoor during processing, all en-trances and exits to such a sectionshould. be constructed with doubleentrances, plus the protection oflight traps.

The possibility of using negativefor video projection may simplifythe laboratory set up for 'the sta-tion that is restricting its film pro-duction to special events. Improvednegative emulsions capable of pro-viding more normal gradations inthe received positive video imageare already beyond the experimen-tal phase. The use of the negativefor video projection will eliminatein the laboratory the entire positiveprocessing chain as well as elimina-ting other sections of the depart-ment.

Local LabsAs in the case of the camera

section, the station may contractwith a local laboratory for film pro-cessing. If such a procedure is fol-lowed several very important con-ditions must be investigated beforesuch a contract becomes binding. Acontract laboratory must maintainhigh standards of cleanliness andprovide a finished product whichmeets the eventual standards setfor video film. Processed film mustbe delivered to the station projec-tor as quickly as television standardprocessing will permit. Aggressivecompetition in special events willnecessitate that a contract for out-side processing guarantee 24 hourconstant service on short notice anda top priority on laboratory per-sonnel and facilities. Average pro-cessing charges, less the overtimefactor of emergency situations, runfrom approximately 2 cents perfoot for negative to approximately5 cents per foot for positive afterediting has been completed.

Film Editing SectionThe television station, planning

to handle the entire film production(Continued on page 39)

111.VT2:. VERSUS

BY MARTIN SCHRADERr HE sputtering fuse attached to television's poten-

tially most explosive labor question-the matter oftechnical jurisdiction-is an old line trade union whichgoes by the resounding title of The International Al-liance of Theatrical Stage Employees and Moving Pic-ture Machine Operators of the United States and Can-ada, which, for obvious reasons, will be henceforthreferred to as the IATSE or the IA. This is the unionwhose label must appear on every piece of film to comeout of Hollywood, the union whose card and permitholders run nearly every theatrical 35mm. projector inNorth America, the union whose membership lists in-clude every stagehand, theatrical electrician, scenicdesigner, grip and prop man in the legitimate theater.This is the union which is today making its bid forcontrol of television.

History of IATSE

Like any other trade union, the IATSE's growth andspread of jurisdiction is irrevocably tied to the growthand spread of the industry in which it operates. Forbetter or for worse, the IATSE is wedded to showbusi-ness. As that industry grows new branches and de-velops mutations, the IATSE will follow it like waterflooding a fresh gully. In 1893, when the IA wasfounded, it directed its appeal to backstage workers inlegit and vaudeville houses, then the mainspring ofshowbusiness. It was designed in those days as a be-nevolent and protective organization whose primaryfunction was to provide death and sick benefits for itsmembers. But after it withdrew from the nearly ex-pired Knights of Labor and joined the booming youngAmerican Federation of Labor, it became a moderate-ly militant craft union. As the motion picture beganto work its revolution in the entertainment world, theIA moved into Hollywood and, in 1914, won control ofthe thousands of projectionists who plied their trade

in nickelodeons and the back rooms of stores. Jurisdic-tion was granted the IA by decree of the 1914 conven-tion of the AFL, after a long struggle with anotherAFL union, the International Brotherhood of Electri-cal Workers.

Hollywood streets ran red in 1926 and '27 as the IAand the IBEW slugged it out for jurisdiction oversound men and electrical workers in the newest andmost startling of technical advances-the talking pic-ture. The 1914 victory had been by edict of the AFL.The 1927 -dispute was not settled as peacefully.

IATSE officials believe the next miracle to changethe face of showbusiness will be television, and they in-tend to be around when those hundreds of thousandsof technicians line up to pay their dues.

The history of some of the IATSE local has not beentoo beautiful a picture.

For instance, Local 110 in Chicago was blessed witha twenty-five year rule of one Thomas C. Maloy, whowon jurisdiction over the projectionists in Chicagoafter he proved his gunmen could shoot straighterand faster than those employed by the local IBEWofficialdom. Maloy was the inventor, as shown bythe Dailey investigation in 1931, of one of the cutesttricks yet-flipping stench -bombs into theaters andthen selling the managers $.70 a quart deodorizers for$22.50 a quart. Brother Maloy came to an untimely endin 1933, as a result of an overdose of lead from asawed-off shot -gun wielded by one of his fellow motor-ists on Lake Shore Drive. Subsequently, the local tookmatters in its own hands and now enjoys a relativelyclean reputation. New York's projectionist Local 306went through a period similar to the Maloy rule underthe direction of "Genial Sam" Kaufman, the "big-business man" of the labor movement. Kaufman andhis immediate successors are no more and 306 has alsocleaned house.

Throughout its career, the IA has fought the IBEW-and won. The IBEW itself is not altogether blame-

18Television

less (its Local 3, the New York electricians, was calledby Harold Seidman in his book: Labor Czars, "the per-fect example of all the ills inherent in an undemocraticlabor organization") but its radio engineer locals areknown as rank and file controlled, democratic groups,led in many cases by sincere men who have made aprofession of labor organization.

The IBEW lost the projectionists in 1914. It lost therest of Hollywood in 1927. It intends to hold onto tele-vision. Its strongest point in any legal battle is itsconstitution, approved by the AFL, which grants itcontrol over "sight, sound and recording engineers inthe broadcasting industry." And it contests theIATSE's claim to television film cameramen with thesection which says: "(IBEW) . . . shall have jurisdic-tion over operators of picture machines where thosemachines are not used for theatrical purposes . . ."The phrase "theatrical purposes," according to anIATSE definition quoted by Charles A. Calame, busi-ness agent of 1212, the IBEW CBS local in New York,means films which are projected on a screen, in a placeof assembly and for which admissions are charged.None of that means television, says Calame and addsthat his local believes recording an event on film forlater telecast is precisely the same process, in visualterms, as recording a program for later broadcast inradio.

For their part, IATSE business agents Sal Scappaand Walter Lang, recently involved in the UN dispute,protest that jurisdiction over all film cameramen, nomatter by what industry employed, is explicitlygranted them by their charters. They have furtherstated that the IA contemplates no wholesale raids ontelevision, despite its actions in establishing a local atDuMont's WABD and in winning the election at Phil-co's WPTZ.

IA StraftegyBut these little skirmishes at the UN Security

Council meetings, at the March of Dimes luncheon orat the Kentucky Derby are not the real thing. One ofthe major prongs of the slowly evolving IATSE strat-egy is the strange case of the CBS white collarworkers.

A year ago, the CIO United Office and ProfessionalWorkers of America began to organize clerical help atCBS radio. Operating on the usual CIO industrialunion policy, UPOWA officials included the televisionoffice staff, which works in a different building, withthe radio people. That's when the fun started. The IApetitioned the National Labor Relations Board, de-claring it was ready to set up a television white collarunion and asking that the video department be con-sidered a bargaining unit apart from radio. Back ofthis apparently innocent demand was the IA's desireto get a foothold among video office workers whichwould grow into a stranglehold on the technicians. Theunion felt it wouldn't have a chance with the alreadyCIO -flavored CBS radio headquarters in on a bargain-ing agent vote and so asked that television be splitfrom its big brother. This fancy piece of footworkgave the IBEW the screaming-meemies and the Inter-national was forced to hop in, claim it wanted to or-ganize white collar people and hold out for radio andtelevision as a single bargaining unit.

Thus we had the odd sight of a CIO and an AFLunion in alliance against the demands of another AFLorganization. And the situation was further compli-cated by the fact that the IBEW is not really interestedir white collar members.

January, 1947

The IA lost that one after a bitter fight, but its tac-tics in the CBS case are a foreshadowing of the le-galistic methods it will employ in television.

NABET and ACAThere are two more unions in the television field

which have made gestures in the direction of extendingtheir organizations. One of them is the National As-sociation of Broadcast Engineers and Technicians, anindependent union growing out of an ex -NBC com-pany organization. The other is the CIO's AmericanCommunications Association. NABET controls thetechnicians at NBC's New York station, WNBT, a jobit inherited in its role as bargaining agent for NBCradio engineers. Labor observers believe NABET mayget someplace in the NBC chain provided it doesn'thave to buck the IA or the IBEW, both of which arepreparing attacks on NABET which may be called anyday. As an independent union, without the support ofa strong International, NABET is considered a patsyfor any group of tough unionists with money andbacking.

The ACA is hard-bitten, aggressive, democratic. Ithas plenty of staying power, as evidenced by thethumping victory it won over Western Union lastwinter. But ACA is interested mainly in marine radiooperators, communications employees and its impend-ing merger with the CIO maritime unions. Its broad-cast division is strong in Philadelphia radio stations,but in New York and other production centers it hastaken a back seat. The big battle will be between theIA and the IBEW even though ACA has gone as faras to set up a television school for its membership.

What's the Answer?Is there a solution to this controversy? There is.

Little help can be expected from Bill Green and all thevice-presidents on the moribund AFL executive board.Even if that body wanted to use its weight, it is doubt-ful that the IA would permit it. AFL rules "say thatthe parent body can take a hand in jurisdictional mat-ters only if both international unions ask its help. Atthe time of the UN fiasco, Patrick J. Healy, IBEW in-ternational representative, proposed just such a step.But the IA wouldn't play ball.

Outside agencies seem equally worthless. Again atthe time of the UN situation, New York's MayorO'Dwyer called a meeting at which his special laborrepresentative, Edward F. McGrady, was to have medi-ated the question. IBEW officials showed up at themeeting, UN officials showed up, the press showed up-everybody showed up except the groom-DickWalsh, president of the IATSE.

. It would be utter foolishness for employers to sticktheir noses into an intra-union dispute, because they'donly wind up with a charge of unfair labor practicesstuck on them-no light matter in an industry as sen-sitive to public opinion as television.

The responsibility for making intelligent decisionsin these cases rests smack on the shoulders of the menwho start unions in the first place; who can make themwork or ruin them-the rank and file. The man behindthe camera, on the mike boom or at the transmitterhas to educate himself in trade unionism, learn howa union should be run, see if his union is doing it rightand, if it isn't, clean house. It's up to the working stiffto take an interest in his union, its policies and itsofficers-and make sure that he is getting a squarebreak. If he does that, he'll be able to speak up at ameeting without being sapped by some thug and em-ployers won't have money wrung out of them by thesame methods.

19.

one man's

Value of BrainsDURING the early stages oftelevision, as in most new busi-

ness ventures, the net profits to beanticipated are limited or absent.The television broadcaster is in thenature of a brave pioneer in a newfield of vast importance to the pub-lic. It is a field which promises, withcareful planning on his part, co-operation among members of thebroadcasting group, and sympa-thetic and sensible regulations bythe government, to offer the possi-bility of large and steadily increas-ing profits once the television audi-ence is equipped with receivers andadequate program operations areestablished.

At first, however, there will ofnecessity be a building -up periodin television during which large in-vestments must be made, a steadydrain on the available resources ofthe broadcaster must be antici-pated, and both common sense,courage, and inspiration are re-quired to carry on effectively andwithout errors in judgment whichmay ultimately prove costly.

More specifically, it is naturallyto be expected that the televisionbroadcaster during the early daysof his operation, and while the tele-vision audience is being built upand commercial sponsors are rela-tively few, will adopt every pos-sible measure of economy. It is truethat economic operation during thisperiod of the television experimen-tation is necessary. At the sametime, it is also essential that suf-ficient expenditures shall be madealong directions which will ulti-nudely reflect favorably upon thereputation of the station, insureits acceptability to the public, andthe advertising sponsor, and ad-vance the television art in general.Station Personnal

Perhaps the most effective wayof alienating the public and avoid-ing any chance of commercial suc-;cess is to purchase the services ofincompetently trained or mediocremen for use in the station's opera-tion. It is a real drawback to hirea comparatively commonplace in -

20

a regularmonthly feature by

Dr. Alfred Goldsmith

dividual of limited experience, andto place him in a responsible anddifficult position in a televisionstation, agency, or advertising of-fice. Such a man is, moreover, amost costly luxury. Far from be-ing an economy, he represents aflow of money "down the rat hole,"as the phrase goes. For every dol-lar saved on the salary of such aman, the broadcaster will later payan amount far in excess of the ap-parent saving.

One is reminded of the old ques-tion: How many men, who are cap-able of jumping five feet individ-ually, can succeed in combinationin jumping ten feet? The answeris that no matter how many five-foot jumpers are available, even incombination they will never jumpmore than five feet. So it is in tele-vision. No matter how many me-diocre or uninformed men may beavailable, they will in no combina-tion solve the difficult problems oftelevision operation.

Any student of present-day tele-vision developments knows thatcertain stations, some advertisingagencies, and not a few prospectivetelevision commercial sponsors areemploying men in television opera-tions whom they will not think ofusing ultimately for an importantjob. Yet such men are given thesupremely difficult task of devisingtelevision policies for the sponsor,selecting television media and pro-gram types on behalf of the agen-cies, or actually developing and put-ting on the air the television pro-grams which reach the public. Theresults in such cases vary fromdull and unattractive, to positivelyrepellent. Fortunately some men ofmuch superior ability are also ac-tive in television.

Ag.ncy ParsonnelTelevision organizations, wheth-

er they be the users of television,the agencies which advertise them,or the stations that send out theprograms, are in grave danger ofunderestimating the value to themof brains properly applied in tele-vision. To select a proper programfor a given sponsor involves imagi-

nation and the power of keen anal-ysis. To select the appropriate sta-tion to handle such a program, thetime the program is to be put onthe air, and the general specifica-tion for its production are not tasksfor a commonplace man in an ad-vertising agency. The agency willneed men equivalent to the bestproduction men now on its staff tohandle such problems. And the mat-ters of writing appropriate scripts,selecting artists, choosing a sym-pathetic and competent director,hiring technical men of top abilityto handle the studio equipment andtelevision material-these aretasks calling for "topnotch" engi-neers and technicians. The bestavailable man may perhaps not bea good enough one for any of thesejobs, particularly in a new artwhere the public mood will be"Show me!"Expensive Economy

Such tasks, if properly carriedout, require a competent televisiondepartment for advertising agen-cies or stations and must not beentrusted to men having less thanunusual intelligence. Excessiveeconomy in the selection and pay-ments of men in these various cate-gories may lead to many and seri-ous disasters.

The advertiser is gambling onthe air with his reputation andstanding. These may be greatly en-hanced or seriously jeopardized bythe men whom he selects to carryout so responsible a job as provid-ing his television programs. En-tirely similar comments apply tothe station, the advertising agency,and the network with which thestation is affiliated.

It should be understood that intelevision one does not have to hirea galaxy of super -men, but a prac-tical compromise is possible and isearnestly recommended. What isneeded in each case are at leastone or two bright men, completelyexperienced in television or closelyrelated fields. The employer shouldavoid like the plague hiring menwho have failed, or are failing inother fields. Television is no waste -

(Continued on page 39)

Television

ADVERTISING

MARSHALL FIELD

heal !Isis of u'rct e II I/ igiees use (I iweek I liall-hour vari-ety show.

The "Marshall Field Theatre"features Don McNeill in a varietyformat over WBKB. Integratedcommercial is used, with usuallyone four minute -plug per show.However, when occasionally theformat calls for more, two shortcommercials of about two minuteseach are used. Merchandise is se-lected that ties in with the script,or when they want to plug one de-partment or service, the show isbuilt around those items.

From their experience, they havefound that: Workable items have the most

video interest-such as toys,cooking utensils, etc.

Size, color and detail must bewatched-very small objects donot televise well even in closeups.

On color, whites and pastels,prints and large figures are goodchoices.

Anything that is too shiny andreflects too much light is puttiedbeforehand.

For fashion shows, formal wear,especially the bouffant typedresses, are very good choices.Price is given only when it has

some special significance. In thecamera show, for example, to showthe contrast between the pocketsize camera for the amateur pho-tographer and the professionalmodel with a turret lens, prices of$29.50 and $300 were quoted.When mention is made of the loca-tion of merchandise in the store,information is pretty general-such as, "You'll find these in ourtoy department," or "These gownsare from the 28 shop."

Typical examples of formatsused were the Thanksgiving showand the toy shows. Frozen foodswere a natural for the Thanksgiv-ing show, with Don McNeill andhis cast searching for a turkeyplus all the trimmings for Thanks-giving dinner and having a toughtime finding them. A cut back to

Analysis of current formats; WWDT rate card; NBCsets network charges; list of current advertisers.

a mcdel showing various packagesof frozen foods was used, pointingup that the food was not only easilyavailable but was also already pre-pared, needing only heating in theoven before serving. In this show,two short commercials were usedbecause time was needed for thecast to change costumes and ap-pear in a different set.

In the Toy show, story was wov-en around Santa Claus and his toyfactory. When the factory wasdemolished by an explosion, a

gnome appeared on the scene witha large box of toys-from Mar-shall Field & Company, of course.He showed them to Santa, de-sc ribed each one briefly, andpointed out that thousands of chil-dren would not be disappointed ifSanta would go to Field's for histoys. Mechanical gadgets werechosen-such as a washing ma-chine that really worked, a gunthat shot airplanes, etc.-so thatthe gnome could actually demon-strate them.

Marshall Field has found that evening clothes, particularly the bouffant fashions,are particularly telegenic. Here emcee Don McNeill poses with a quartetof chic models. Program is a regular weekly half hour show over WBKB.

January, 1947 21

THE FAIR

Special Christmas shop-ping program added toweekly news segment.

The Fair, Chicago departmentstore, added a "Christmas Shop-ping Service" for the five weekspreceding Christmas to its regularweekly "Tele-Chats" newscast overWBKB. Igloo labeled "The FairChristmas Annex" set the stage,with Pat Murray, the televisionshopper, sitting on an ice cube(imitation, of course!) at the en-trance. Each week televiewers wereshown the gifts which Miss Mur-ray selected, and were given aninvitation to call or write her atthe Fair if they wanted her to dotheir shopping for them. Audiencebait was provided by asking theviewers to write in their gift prob-lem, including an idea of whatthey'd like for Christmas and why.Gift awards of $25 were presentedto the winners on the last show.Tie-in between the "Tele-Chat's"news program and shopping seg-ment was provided by having news-caster Bill Hamilton interviewSanta Claus via radio just beforeSanta left the North Pole in a jet-propelled plane (give us back thereindeers, please!) for the Fair.Camera picked up Santa outsidehis igloo as he talked with Hamil-ton.

BORDEN

ludience participationshow first of three for-mals slated to test com-mercial techniques. inaddition to regularlyscheduled -1 Lore toEat" spot.

"Let's Celebrate" was the firstin their three experimental for-mats to determine various methodsof presenting commercials. (Thisis in addition to their regularweekly segment, "I Love to Eat,"featuring James Beard.) Presentedover WNBT, show was an audi-ence participation format, with 250vociferous guests "celebrating."Audience was furnished with hats,masks of Elsie, the Borden cow,horns and the resultant noise theymade was terrific. With imageorthicon field equipment used for

Christmas shopping format was added to the Fair's regular schedule overWBKB for the five weeks preceding Christmas. As come-on prize was offeredto the viewers writing the best letters to Pat Murray, the Fair's shopper. HereMiss Murray displays the gifts she has selected to an interested spectator.

the first time in an NBC studio,

werestory, page 27), two cameras

were stationed at the rear and onein front to pick up the crowd re-action.

Stunts included a husbandstuffed with balloons and hiswife equipped with nail point box-ing gloves in order to deflate him.-prize being an overcoat. Ideawas to pound him down to size andget him into an overcoat beforethe time ran out. New twist tonecking was given by having twoyoung couples try to transfer abox of Borden's None -Such Mince-meat tucked under the men's chinsto the girls' chins. Phone call wasmade to a bedridden youngster,asking him to remove the sheetfrom the package near his bed,prize being a television set. Goodway of working in a variety seg-ment was provided by telling theyoungster to watch the next act,which would be typical of the en-tertainment that would come tohim over his television screen.

But piece de resistance of the en-tire show was Elsie, in person.After fanfare announcement of afamous star celebrating her tenthanniversary, curtain was parted toshow the in -the -flesh version ofthe famous Borden trademark.Stunt was worked around Elsie byleading a blindfolded young manonto the stage, giving him a build-

up about the date they were ar-ranging for him, seating him infront of Elsie-and having a glam-orous girl act as her voice.

Commercial was handled mainlyby reiteration of the name Borden,with the presentation of the prizes,and of course, with Elsie. Onlyproduct to get a direct plug wasNone -Such Mincemeat. Agency isYoung & Rubicam.

Borden's "I Love To Eat" overWNBT opens with a sketch of El-sie, famed Borden cow. Then JamesBeard takes over and demonstratessome of his unique dishes in frontof the television camera. Everystep in the basting, and trimming,and cutting is picked up by thetelevision camera.

Commercial was handled by thedevice of a fortune-teller and hercrystal ball. Stirring music under-scored this part of the program asJames Beard walks in to consultthe fortune-teller who says, "I seein my crystal ball the letters LC,"which of course immediately trans-lates to "Elsie." And then withsuperimposition and cross dis-solves, Hemo is plugged throughthe medium of the crystal ball.After this commercial, camerascans back to kitchen where Bearddrinks a revitalizing glass of Hemoand finishes cooking the meal.

22 Television

BRISTOL-MYERS

Trusting and 11init.Rubprogram switches fromfilm to lire over WNBT.

Bolstered by an additional ap-propriation, Bristol Myers' Tru-shay and Minit-Rub have switchedfrom their film travelogue and car-toon film commercials to experi-mentation with both live commer-cials and formats. Products alter-nate each week over WNBT.

On the plug for Trushay, com-mercial was well done, with thegroom carrying the bride over thethreshhold and the two waltzingaround. Off -screen voice told hershe was married now and her danc-ing days were over. So off camethe veil and the bride tied an apronover her dress as she walked overto the sink and to the laundry tubat the announcer's bidding. Pan-tomine expressions of the girl wereexcellent and commentary amus-ing. As she was about to get towork, he cautioned her again abouther rough red hands and an amus-ing piece of business was added byhaving her rub her hands together,with a sandpaper sound effect. A

bottle of Trushay came into thescene, complete with wings becauseit was heaven sent, and she fol-lowed his bidding in comic fashion,rubbing it on her hands, her face,rough elbows, her legs. As for "allover," she dived behind a screen,draping her "intimate things" overthe top, finally popping up and say-ing her first words-"Hey, you'reright!"

Minit-Rub commercial, titled "APlay," evolved around a young manall set to propose. But each timehe was ready to pop the question,the girl sneezed until he finallyasked her why she didn't get ridof that cold and slammed out.Same pantomine ideas as in Tru-shay was then used, with Minit-Rub floating into the scene and off -screen announcement telling herhow to use it. Quick glance at theclock showed the minute elapsing,with next shot showing the girlsitting comfortably-with no moresneezes. Boy again made appear-ance, repeated the same formula,this time interrupted by his ownsneezing and finally wound up ask-ing her for her tube of Minit-Rub.

Variety formats were tried outso that Bristol-Myers could selectone. First show, "Stage B," should

"You Are An Artist," Gulf sponsored program over WNBT, is an art lessonformat with Jon Gnagy doing the honors. Program is a weekly quarter hourfeature which satisfies the public urge to watch an artist at work.

never have left the first try -outstage and proved that televiewersshould not be victims of experi-mentation. Show was uncoordi-nated, with no semblance of unitybetween the acts. Second show wasquicker moving, with each act in-troduced by a title card. Agency isYoung & Rubicam.

GULF OIL

Schedule increased with"Ion Are An Artist-firer WABT added tosponsorship of the CBSnett's.

Gulf's sponsorship of WNBT'spackage "You Are an Artist" starsJon Gnagy with his lively commen-tary and quick pencil. Openershows Gnagy drawing the word"Gulf" and circling it, followed bya prepared card stating that "TheGulf Oil Company and Your GulfDealer Presents" . . . Same closingis used with Gnagy again sketch-ing "Gulf."

Capitalizing on the interest ofpeople in rubber -necking at an ar-tist at work, this program attemptsto teach as.well as satiate curiosityabout the mystery of graphic man-ual representation.

Theme of program was Christ-mas and the artist with simplestroke and instructive chatter cre-ated a scene with all the accoutre-ments of the holiday. A tree wasthere, gifts were there, holly wasthere-but above all the artist'shand was there . . . and it wasdefinitely in the way through mostof his creative instruction. Most ofthe lines seem to emanate from allfive fingers, since the camera wasdirectly pointed at Gnagy's hand.For a program purporting to teachdrawing, it is important that theviewer have a clear look at thelines as they are originated. Cam-era angling should solve the prob-lem. His instruction is perhaps alittle fast for the novice-butsomeone has to be sacrificed tokeep the program sparking.

Gulf commercial on the CBSnews, telecast weekly over WCBS-TV, uses a standard opening andclosing which shows .the Gulf gasstation tank, with the word Gulfdisappearing as quick flashes ofnews pictures appear in the circle.About the half -way mark in thefifteen minute. presentation, car-toon type commercial is used, with

January, 1947 23

"Reluctant Roger," a very un-happy car playing the stellar role.Roger and a turtle shared honorsfor going up a hill until one dayRoger stopped at a Gulf station,and it perked him up considerably.Animated sequence showed Rogerrolling along with the scenery mov-ing in the background. Concludingcommercial also used a standardformula-boosting a Gulf stationwithin touring radius of NewYork. Stills of the station wereshown and video introduction madeby showing a picture of the manwho runs it.

News presentation is wellhandled. Newscaster Milo Boul-ton's commentary is visualizedwith maps, cartoons, stills andfilms. Labor and government issuesin the recent coal strike, for ex-ample, were visualized with draw-ings, while the effects of the strikeon transportation and the nationin general were depicted by excel-lent film sequences of coal loading,locomotives, etc. Superimpositionof the titles over the film was alsoa good trick, for it gave news valueto the pictures. Brief film scanningof Greece led in to an interviewwith Mr. Antonescu who discussedthe condition and problems of hiscountry. Good sound tricks wereemployed, such as the telegrapher'skey for news flashes. With the an-nouncement that radio stationswere not as yet subject to curtail-ment in schedule, films of the mainCBS transmitter were shown, ac-companied by recorded music andthe sound of applause to signifythe entertainment service whichthe station was giving. Showmoved quickly and visualization ofcommercial was in keeping withformat. Agency is Young & Rubi-cam.

STANDARD BRANDS

"Face to Face" variesformat: -flour Glass"le olorry Eddie 'Plage-ho f f .

Although holding to the samecartoon idea format, changes inthe "Face to Face" show overWNBT result in greater variety.With Sugar, the femcee, introduc-ing the two Dunns, stunts includeBill Dunn sketching by descriptiona "victim" being interviewed byEddie Dunn on the other side of acurtain. Camera veered from close-up of the girl to close-up of the

cartoonist's handiwork. Wind-upshowed the girl standing next tothe cartoon, with Bill finishing itup to tie in with her occupation.Presentation' of Instant Chase &Sanborn is her reward for her ap-pearance-plug the product plug,of course. (This idea, while ba-sically the same, is an improve-ment over the old format wherethe "victims" were in the viewingroom and the home audience werenot picked up for the home view-ers until the second part of theprogram when they went down tothe studio.) Other stunts includeda "Who am I ?" cartoon, with amember of the viewing audienceon the ninth floor being given cluesto guess the identity of the personbeing drawn. Prize money drops asclues go on.

Commercial comes in at thispoint, and after following this pro-gram regularly, the conclusion isstill the same-it is a radio com-mercial, too much talk, too muchham. With the bright remark thatit's Chase & Sanborn time, the twoDunns joined Sugar at the coffeetable while she prepared the cof-fee. Camera caught her hands inclose-up as she measured out aspoonful of the instant coffee andadded the hot water. But there'stoo much exuberant exclamationsabout the taste, its deliciousness,its easy preparation, etc.-and see-ing a man with a cup of coffee inhis hand while he gives a ream ofadjectives about the product doesnot change a radio commercial intoa television one.

Final stunt had Dunn drawingfrom a model. In this case she wasa representative of the Post Of-fice Department and obliged bygiving a few well timed hints onpackage wrapping and mailing.Show opened as it closed withthree jars of the Instant Chase &Sanborn for product identification.Agency is J. Walter Thompson.

Standard Brands' "Hour Glass"over WNBT seems of late to haveundergone a change in execution.Burden of the show is carried byone personality, Eddie Mayehoff.In this instance however, with aman so adroit in comedy as the lat-ter, the hour length show does notappear to suffer. In this particularprogram, setting and characteriza-tion stem from the deep south.Opening to establish locale withfilm clips of the old Kentucky home.Mayehoff's routine throughout bur-lesqued some of the South's better

known prototypes. At one point hewas typical Mountain Dew whitetrash; at another point he was aSouthern Colonel; at another anoffice seeking, rabble raising poli-tician; and another a movie direc-tor directing the "Birth of a Na-tion Strikes Back" which was "sobig they had to slit it in the mid-dle and run it as a double feature."

Carrying out more of the themewere the Coleman Brothers whomade with some fine cotton pick-ing harmony; Nell O'Day was thesweet southern belle who carriedon the burden of femcee tempo-rarily vacated by Helen Parrish.Others on the program were Fon-tain's Acrobats, Patricia Bright,Amy Sedell, and the team of Flour-ney Miller and Moreland, and thedance team of Church and Hale.

Commercial plugged InstantChase and Sanborn twice duringthe laugh -provoking program. Mainemphasis was a graphic presenta-tion of the speed of preparing cof-fee with the product without lossof genuine "shade grown flavor."This was emphatically, if ratherlengthily projected.

ALEXANDER SMITH

Singing jingles and onedirect cone mercia I usedon 15 -Minute program.

Alexander Smith's "Magic Car-pet," presented over WABD, usesan offscreen singing commercialjingle with the opening and closingslide. Direct commercial is givenby Clara Dudley, company stylist,at end of fifteen minute program.Cameras picked up Miss Dudley inclose-up and switched to swatch ofrug as she described the pattern.Large geometric leaf design tele-vised well but still of room to showrug placement was too indistinct.

Format of show is travel tourswith voice over commentary. Showopened with shot of youngster an-swering the telephone and tellingher mother that a visitor had lefta Christmas present for her. Asshe waited for her mother, curi-osity got the better of the littlegirl and she opened the package,bringing out a doll, a panda andfinally the Lady of the Star. Asyoungster fell off to sleep, theLady of the Star came to life and

24 Television

dissolve was made from the star toher. Good production work wasevidenced here with the same pro-portions being kept and a blackbackground used around the livestar. The doll and panda came tolife then and took the little girlon the magic carpet to toyland.Dissolve effect of clouds was ob-tained by pouring milk into waterand as it swirled upward, super-imposing the youngsters on thecarpet over it. Switch was thenmade to film -in this case beingthe Nutcracker Suite theme andthe miniatures used in Macy'sChristmas window. Offscreen nar-ration by the "Star" detailed thestory to the youngsters. Film wasshot by Bud Gamble, who also pro-duces and directs the bi-weeklyshow. Agency is Anderson, Davis& Platte.

ATLANTIC REFINING CO.

New trick devised togive visual appeal totill Ck it. anttotttteente'ntsat basketball games.

Atlantic Refining Company issponsoring the University of Penn-sylvania basketball games overWPTZ. Because of limited audi-ence, problem was to work outcommercials as inexpensively aspossible so cartoon comic stripswere originated by Dick Rose.Comics are placed in a book,tabbed on bottom and the an-nouncer at the field reads the copyand turns the pages. Three gamesets have been made up, each setconsisting of three dramatizedstories of 8 to 12 drawings. Eachcommercial lasts about 1 to 11/2minutes.

There is no attempt at hard,straight sell, with the commercialon fuel oil told in story fashion.Because product is a home com-modity, and to associate the com-mercial with Philadelphians, ideasbehind strip is to present a typicalPhiladelphia family - named PhilA. Delphia. Typical example ofstory plot shows Phil reading acomic strip to youngsters, aboutIggie Eskimo who's so cold thathe's thinking of going south. Com-mercial point is worked in withfinal shot showing Iggie, the firstEskimo to install an oil furnace,stripped to trunks in his igloo.

Best trick of all though is thevisualization of the quickie an-nouncements. At time-outs, etc.,they are using a series of Atlanticphone numbers or Atlantic furnaceoil signs. These are picked up byone field camera and superimposedover field shots, such as a pick-up ofthe clock, the crowd, etc. One par-ticularly successful use of the sys-tem showed a little service atten-dant carrying the Atlantic sign -camera panned in direction that hewas walking, giving the impressionthat he was strutting across theclock. Method was worked out byPhilco and tele director Don Mc-Clure. Agency is N. W. Ayer.

GENERAL ELECTRIC

G -E electric blanket commercialwas integrated with a "Shoppingfor Skis" format over WRGB.Built around a young girl brows-ing through a store and attractedby the ski display, dramatizationincluded skiing instructions as tothe type of skis she should use,how they should be fastened, etc.Fashion note was added by havingthe girl go over to the sports de-partment and as she is lookingthrough the rack, models paradeby, sporting the latest in wintersports togs. Just one commercialwas woven into the 15 -minutestory.

SPIEDEL CO.

In their sponsorship of "Detectand Collect," Spiedel dramatizedtheir Golden Knight watchbandsand expansion bracelets. Designedon the principle of the "hinging" ofold time armor, an armor -cladKnight was on hand to answer thequiz questions about the merchan-dise. Good close-up shots of the sell-

. ing points of the expansion brace-lets did an interesting job of put-ting the story over to the viewers.Included in the commercial sequencewere shots of a wrist slowlyturning to show the watch band,with a hand pulling it out to showits flexibility. Next shot was of aman putting his watch on, a stackof towels while he washed, thentaking a towel with the watch fall-ing to the floor. Another shotshowed washing with the watch onand getting it wet. Final sellingpunch showed the wise man push-ing the watch far up on his arm,where it was safe from splashing,falling or absent mindedness. Off -screen announcement gave the des-cription.

Format of "Detect and Collect"is audience participation, with thestunt concealed behind a screen andthe contestant given three chancesto guess. Prize money drops asclues mount. Program was boughtby Hirshon-Garfield AdvertisingAgency in order to demonstrate totheir clients the value of video ad-vertising. Bobbie Henry directs theshow which is telecast by ABC overVVABD.

WWDT Rate Card1

Time13

Times5%Disc.

26Time!,

10%Disc.

52Times121/2%Disc.

100Times

15%Disc.

200Times

20%Disc.

260Times

25%Disc.

1 hour $250.00 $237.50 $225.00 $218.75 $212.50 $200.00 $187.50% hour 150.00 142.50 135.00 131.25 127.50 120.00 112.5020 minutes 125.00 118.75 112.50 109.37 106.25 100.00 93.7515 minutes 100.00 95.00 90.00 87.50 85.00 80.00 75.0010 minutes 75.00 71.25 67.50 6542 63.75 60.00 56.255 minutes 50.00 47.50 45.00 43.75 42.50 40.00 37.50

Announce.ments 25.00 23.75 22.50 21.87 21.25 20.00 18.75

* 1 minute or lessThe above rates are subject to 15% commission by recognizedagencies.No cash discounts.

Listed rates are for air time only.Production, rehearsal, material, and field pick-up charges will bebased upon actual costs.Film, music, or dramatic talent available on request.Contracts, program material, and advertising copy are subject to ap-proval according to the standards of station policy. The right to re-fuse or cancel any of the above is reserved by WWDT.Closing time on all programs or announcements is 72 hours prior tothe scheduled time of telecast. Failure on the part of the advertiserto comply relieves station of all obligation to adhere to the schedule.

January, 1947 25

Current AdvertisersAlexander Stores-"Let's Play

the Game." Through ABC overWABD. Tuesday. Relayed to WTTG.Half hour charade program.

Alexander Smith Carpet Co.-"Magic Carpet." WABD, biweek-ly, Friday. Fifteen minute live andfilm format. Agency, Anderson,Davis & Platte.

Atlantic Refining Co. -Pennbasketball games. WPTZ, Saturday.Agency, N. W. Ayer & Sons.

Automobile ManufacturersAssociation-"Video Reports toAmerica." Through ABC overWABD. Relayed to WTTG. Specialdocumentary films shot by ABC.

B orden Co.-"I Love to Eat."WNBT, Friday. Fifteen minutecooking program. Relayed to WRGBand WPTZ. "Let's Celebrate" - ex-perimental audience participationformat. WNBT, Sunday. One timeshot. Relayed to WRGB and WPTZ.Agency, Young & Rubicam.

B otany- Weather report.WABD, WNBT.

B ristol-Myers - "Tele-Varie-ties." WNBT, Sunday night.Twenty minute variety show plug-ging Minit-Rub and Trushay alter-nate weeks. Relayed to WPTZ andWRGB. Agency, Young and Rubi-cam. "Tales by Hoff," (cartoonshow), sponsored by Ipana and"Vitalis $ports Almanac," (films),WCBS-TV, Sunday night. Twoshows have now been replaced by"King's Party Line," audience -viewer participation format.Agency, Doherty, Clifford & Shen-field.

B ulova -Time spots. WNBT,WCBS-TV.

Copies Company -"FarawayHills." WABD, Wednesday. Halfhour dramatic serial.

Chevrolet-Hour show. Filmand live. WABD, Sunday. Relayedto WTTG. Also scheduled forWWDT, Detroit, when it opens.Agency, Campbell -Ewald.

Commonwealth Edison Co.-"Telequizicalls." WBKB, Friday.

11 a I f -hour viewer participationshow. Direct.

Cutter Cravats - "SidewalkTele-Talks." WBKB, Monday. Fif-teen minute news format.

Elgin -Time spots. Film com-mercials on WNBT, WABD,WCBS-TV. Live spots, WBKB.

The Fair -"Telechats" - newsprogram. WBKB, Friday. Fifteen -minute news program. Christmasshopping format added for fiveweeks preceding Christmas.

Firestone Tire & Rubber Co.- "Voice of Firestone." WNBT,Monday. 10 -minute film format. Re-layed to WRGB and WPTZ. AgencySweeney & James.

Ford Motor Company - "Pa-rade of Sports." All events, exceptboxing, from Madison Square Gar-den. WCBS-TV. Agency, J. WalterThompson.

General Electric - Appliancecommercials. WRGB. Spots or indramatized formats.

General Mills, Inc.- H o c k e yand wrestling. Through ABC overWBKB, Wednesday.

Gillette Safety Razor Co.-"Cavalcade of Sports." WNBT,Monday and Friday. Boxing bouts.Relayed to WRGB and WPTZ.Agency, Maxon, Inc.

Gruen Time spots. WCBS-TV.

Gulf Refining Company.-"Television News." WCBS-TV,Thursday. Fifteen minute live andfilm program. "You Are An Artist."WNBT, Thursday. Fifteen minuteart lesson format. Relayed toWRGB. Agency Young & Rubicam.

Hirshon-Garfield Agency -"Detect and Collect." ThroughABC over WABD. Thursday. Re-layed to WTTG. Half hour audienceparticipation show. Agency ac-counts alternate in presenting prod-ucts.

Longines-Wittnauer-Timespots. WABD.

Henry C. Lytton & Sons-Hockey from Chicago Stadium.Through ABC over WBKB, Sunday.Agency, Ruthrauff & Ryan.

Marshall Field-" MarshallField Theatre:* WBKB, Wednes-day. Half hour variety program.

New York Dress Institute-"Signature Touches of AmericanFashion Designers." WRGB, bi-monthly, Thursday. Half hour for-mat to test the presentation offashions.

RCA Victor "World in yourHome." WNBT, Friday night. Fif-teen minute film program. Relayedto WRGB. Agency, J. WalterThompson.

Reid's Ice Cream-Weather re-ports. WCBS-TV. Thursday andSunday. Agency, Doherty, Clifford& Shenfield.

Sears -Roebuck - "Visi-Quiz."WPTZ, Thursday. Half hour audi-ence -viewer participation program."Matinee for Youth." WPTZ, Fri-day afternoon. Half hour film pro-gram. Agency, Benjamin Eshelman.

Standard Brands, Inc.-"HourGlass." WNBT, Thursday. Hourvariety show, "Face to Face,"WNBT, Sunday. Both programs re-layed to WPTZ and WRGB. Quar-ter hour cartoon show. Agency J.Walter Thompson.

Standard Oil of New Jersey(Esso) - "Television Newsreel,"WNBT, Monday night. Relayed toWPTZ. 10 minutes of late newsfilms. Agency, Marshalk & Pratt.

U.S. Rubber Co. -"ServingThrough Science." WABD. Tues-day. Half hour film program. Re-layed to WTTG. "The AmericanHome," one time shot over WNBT.Fifteen minute film. "TelevisionQuarterback," sports forecast overWNBT. Relayed to WRGB. Agency,Campbell -Ewald.

Wanamaker's DepartmentStore -"Wanamaker Presents."WABD, Wednesday. Half hourshopping merchandise program,presented in cooperation with vari-ous manufacturers.

26 Television

PROGRAMMING

NBC EXPERIMENTS

Image 0rthieon triedout successfully by NBCin studio shoo.

First test by NBC with imageorthicon field equipment for anaudience participation studio showproved highly successful. Accord-ing to Eddie Sobel, NBC producerwho directed Borden's "Let's Cele-brate," the quality of the pictureis good enough for this type ofshow and compares favorably tothe quality of newsreel shots. How-ever for good dramatic shows,when fine grain pictures and gooddefinition are wanted, Sobel stillprefers orthicons.

Show was held in NBC radiostudio 8G with an audience of 250.Ordinary lighting was supple-mented by footlights, a few spotsand overhead borders with thor-ough pre -testing to figure out theeffects needed. Two cameras werestationed at the back of the studio,with a third at the right of thestage to pick up audience reaction.Telephoto lens was used for ex-treme close-ups, with use of medi-um and close-up lens predomina-ting. In Mr. Sobel's opinion, menwho are accustomed to field work,where things happen spontaneous-ly, might do a better job on thistype format than the boys who areaccustomed to pre -rehearsed studioshows. Aside from operation of thecamera itself, field training is par-ticularly useful in an audienceparticipation show when you arenever quite sure what is going tohappen next, and you must be onyour toes to catch the action.

However, where a station plansdual use of field equipment, studiosshould be built with that in mind.In Mr. Sobel's opinion, mobileequipment lends itself very well tosuch fast moving shows like audi-ence participation or good comedyand permits a more flexible opera-tion. Dollarwise it cuts down thetotal initial investment and theamount of personnel necessary-nodollies needed, less confusion instudio, etc. (Review of Bordenshow on page 22).

Analysis of current formats; typical weekly pro-gramming schedule of all operating stations.

Above: "A Comic Strip is Born" and NBC television br ngs Milton Caniff'slatest brainchild "Steve Canyon" to the tele-audience weeks before its news-paper debut. The female menace is the model for "Copper Calhoun." Below:W6XAO tou-ed their audience over the United States via film and skit togive them an insight of the impact of Christmas on Amer cans. The over -loadedshopper's dilemma is projected here, reminiscent of crowded transportation.

January, 1947 27

EDUCATIONAL

An analysis of u1utNew fork and ('Iieugoare doing on education-al shows.

WCBS-TV New York Board ofEducation junior high school quizseries features ten participantsfrom two different schools eachweek. In order to insure a high de-gree of visual appeal, a brochurewas prepared jointly by CBS staff-ers and the Board of Education,giving detailed information on thetypes of questions to be asked andthe best methods for putting themacross to the televiewers. All quizmaterial is taken from the sylla-bus.

Opening shot pans aroundamong the kids who are caught"informally" before the quiz starts.Rules of program are briefly ex-plained and a coin is tossed to de-termine which team leads off. Ascore keeper with a youthful ad-viser from each school is seated onthe rostrum, with signposts inback to indicate the score. Sinceyoungsters are picked by IQs andnot particularly for video -genic oracting ability, good point in keep-ing the program going easily andwithout stilted amateurishness isby having the bulk of the conver-sation carried by two B of E mem-bers, with the youngsters limitedto answering the questions.

Visualizations were interestingand problems adult enough to keepthe graduate members of the view-ing audience guessing. Here aresome typical examples and theirvisualizations:

A large poster showing a sphinx,the Eiffel Tower, the Empire StateBuilding and the Taj Mahal wasshown with the youngsters re-quired to name the countries rep-resented on the placard. Next, fiveitems were displayed on a table,the problem being to number themin order of their development.(Articles included the telephone,steam engine, wheel, iconoscope.etc.) There were three clues givenfor the "What's my name" prob-lem, with the points diminishingaccordingly-first illustration wasof old Fort Duquesne, second of thesteel industries, and third was amap showing its position. (Answerwas Pittsburgh). Pairs of wordswere placarded on a board, withyoungster required to identify

them as antonyms, synonyms orhomonyms, tested grammar. As-tronomy was visualized with threeyoungsters acting the part of thesun, moon and earth (without cos-tume !) revolving around each oth-er, with the contestant stoppingthem in position for a solar eclipse.

Program forms an interestingenough half hour, with camerafocusing on the visualizations, thenpicking up sideline reactions, andthe score -board at the end of eachproblem.

Show is a good example of co-operative programming betweenstations and school systems andpoints up the the fact that pre -preparation pays dividends, es-pecially when dealing with ama-teurs. While kids are unrehearsedexcept for positions, much of thepre -planning was given to visualiz-ing the show.

WBKB's "Minor Opinions" isproduced in cooperation with theGary Public School System. For-mat consists of a current eventsquiz, with the "class" made up ofsix youngsters ranging in agefrom six to nine years. They givetheir viewpoints on such weightyproblems as politics, housing,sports, business, education, etc.,and some not -so -profound ones asstaying up late and washing dishes."Cast" changes every week. Fif-teen minute weekly show is pro-duced and directed by PaulineBobrov.

W6XAO's plan of stimulatinginterest in television among theschools in Southern California re-sulted in the UCLA student pres-entation of "The Christmas Spiritof 1946." Combining film and live,format took the form of a pageant,in a survey of the United States asit prepared for another Christmasseason.

PARTICIPATION

"kitty' s I'art y Li it e."(U.S' sustainer. boughtby Bristol- yers I pantsand italic).

WCBS-TV's "King's PartyLine" opens with a series of car-toons which successfully establishesthe mood and format of this guestand telephone participation show.

John Reed King seems a little lesseffusive than usual which adds tothe visual program. First shotshows him seated at a desk onwhich is hung a huge sign whichgives home viewers a look at thetelephone number of WCBS-TV.Unfortunately, the camera failedto pick up the last digit of thisimportant bit of information,which, however, was transmittedvocally as well. Smaller sign or alonger shot might correct this. Theguests who participated in this pro-gram numbered five: a dancingschool instructress, a vet, a Mrs.Martini from the Bronx Zoo, anda young man and lady. King's as-sistant helped put everybody atease, bringing tall iced drinks tothe guests, and then King ad-dressed the studio and outsideaudience giving an explanation ofwhat he expected from them. Heasked especially for those whoviewed him outside the theoreticalfifty -mile limit to so inform him.

Telephone bells rang constantlythroughout so instantaneous wasthe response to this program whichapparently is a favorite amongtelevision receiver owners. Eachcorrect answer received a fivedollar reward which isn't a badinvestment for a nickel. King in-volved a guest in most of the ques-tions. For example, he had thedancer perform a dance questiQnusing only two dancing fingers.This was a good visual question.As a gag he had the dancing teach-er get up with the veteran anddo a short snappy dance together.A geography question which. re-quired paper and pencil and quickthinking followed this. A goodpoint here was the use of superim-position of the written answer overKing's face while he explained thesolution.

The woman from the Zoo sup-plied another visual question byplacing two small animals on adesk. Another audiovisual questioninvolved playing of a popular vocalrecord while a number of picturesof popular songstresses werepicked up by the camera. Finalstunt on the program carried areward of fifty dollars for guess-ing the identity of a partiallyblanked out photograph. The an-swers to this most lucrative ques-tion were acceptable for thirtyminutes after termination of theprogram. Reasons for the finalquestion carrying the heaviest re-ward was to compensate in partfor viewers receiving the busy

28 Television

signal during the program. Theheavy telephone traffic is one prob-lem that WCBS-TV is attemptingto solve so that viewers will notbe annoyingly frustrated. Programwas directed by Miss Frances Buss.

VIRCIEs "Picture Puzzles" is a"what's wrong with this" quiz pre-sented as a regular feature overthe station. In the fifteen minutesegment, three historical eventsare dramatized. Mistakes are in-tentionally made in clothing, cus-toms, etc. Board of three expertsare asked after each dramatizationto tell what was wrong with eachpresentation.

CURRENT

thrs "Screen Maga-zine- integrates threeor four shorts in oneprogram: U PTZ triesballet.

WNBT's "Television ScreenMagazine" wraps up three or fourshorts into one package. Fare, onnight segment was reviewed, in-cluded a documentary newsreel onthe inauguration of the Mexicanpresident; "The Magic of Elec-tronics," a studio show; a previewshowing of a film taken by theFrench Underground during theGerman occupation, and MiltonCaniff introducing his new comicstrip "Steve Canyon." Each seg-ment was introduced by a title inthe form of a magazine page, withthe headline and accompanyingsketch or illustration.

"The Magic of Electronics" fea-tured Gordon Volkenant, distin-guished electronic lecturer, who at-tempted to clarify and simplify theelectronic theory for the laymen.Show opened with close-up of lec-turer, switching to a view of thetable on which various electronictubes and gadgets were displayed.Lecture was accompanied by dem-onstrations of the parts which thecamera caught in close-up. Evalua-tion of an educational show of thistype would depend upon the in-terests of the audience. First part,an explanation of electronics interms of bent hairpins, tin cansand glass jars, was not as simpleas it sounded and seemed overlong.Demonstration of electronic de -

MU

6 6 3 4 1

John Reed King's Party Line keeps the telephones ringing during the popularhalf hour questionnaire on WCBS-TV. The double telephone hook-up permitsKing and guest to engage in a three -sided conversation with the home-viewer.

vices, however, was interesting."A Comic Strip Is Born" fea-

tured cartoonist Milton Caniff, in-troducing the main characters inhis new strip, "Steve Canyon,"scheduled to start January 15th, inthe New York Daily Mirror. Seatedbefore the easel, cartoonist Caniffdrew Steve Canyon, as he explainedthe plot and pointed out the char-acteristics of his new red-bloodedhero. Easy patter back and forthwith emcee Eddie Dunn feedingthe questions gave a good air ofinformality to the seg and close-up shots of Steve as he came intobeing under Caniff's hand addedhigh visual interest. The menace,"Copper Calhoun" was there inthe person of Miss Utah whomodeled for the sultry siren. Herethe camera varied between shotsof the in -the -flesh and on -paper she-wolf. Tie-up here was highly pro-motional, with the Daily Mirrorgiving the television appearance ofCaniff some good space and theprogram mentioning the Mirrorand the date strip starts.

WPTZ's first attempt at balletused the famous "Danse Macabre"as musical theme and featuredthree dancers performing their bal-let against a background of agraveyard. This effect was achievedby the superimposition of two pic-

tures throughout the program,with one camera focused onature graveyard setting, and theother following the dancers. Showwas directed by Herb Horton.

WRGB's "Glance at the Head-lines" is another in their series ofexperiments on news presenta-tions. This time, show opened withan enlarged piece of ticker tape,bearing the headline of the story,pulled before the camera. Don Pat-trick, commentator, followed witha short explanation of the news.

WNBT's "Let's Rhumba" fea-tures D'Avalos in a weekly fifteenminute dance instruction program.Even without the introductory titleone would recognize from the ac-cent and slick hair that D'Avaloswas a master of the rhumba. How-ever, he exhibits a patience whichis not generally associated with aLatin temperament. Accompaniedby a beautiful partner, he goesthrough some of the basic rhumbasteps and succeeds in conveyingsome of the essential movementsof this popular exercise. Televisionis an extremely good medium fortransmitting dance lessons becauseit can obviate self-consciousness inthe privacy of one's home and thatis one of the greatest stumblingblocks in dance instruction.

January, 1947 29

Special Christmas program, presented by John Wanamaker's, featured BobEmory and was presented over WABD the four Saturdays preceding Christ-mas. Three elaborate sets were used and each child was presented with abadge certifying that he had appeared on television with Santa Claus.

FASHION AND BEAUTY

/orie fashions andmakeup demonstrationsdramatised orer

6\:1O.

W6XAO's "That's Hollywood"combined fashion and make-up ina dramatized skit of the steps thatgo into glamorizing a girl for ascreen test. Offscreen announce-ment on the glamor of Hollywoodand the many young hopefuls whobeat their way there, set the stage.Opening scene showed ShirleyO'Hara scheduled for a screen teststanding nervously before Mitch,the talent head. After back andforth patter which give her back-ground, Mitch told her she had noglamor and summoned a coterie ofcostume and make-up people to doher over. The make-up man remadeShirley, discussing the angles ofher face, and explaining the whysof each step. In short it was ademonstration of correct make-upfor the movies. Next came Renee,the costume designer, and afterdiscussing the type of clothes forShirley's figure, invited them overto Set 23 to see the style show be-ing shot for a picture. This intro-duced the fashion parade, with each

model posing in the doorway, thenwalking down the stairs and acrossthe lawn while Renee described thecostume. On returning to Mitch'soffice, comedy note was introducedwith a young actor and his voiceteacher breaking in and demandingan audition.

Next on the scene was the hairstylist who surveyed Shirley's hair,tried it several ways while explain-ing the correct hair style, the re-lation of hair style to the shape ofthe face, etc. With Shirley glam-orized from the neck up, next stepwas her gown and while she wasgetting ready, the second part ofthe fashion show was given.

Climax of the show was JaneGreer's creation, with Jane joiningthe group and reminiscing abouther own screen test days. Showclosed with Shirley posed and inplace for her test.

Credits, given by the announceres the scene faded out. gave thename and studio affiliation of thecast, as well as credit for theclothes, furs, hats, etc. Obviously,this type of program, if done withre9traint has tremendous commer-cial possibilities.

CHRISTMAS SHOWS

Shows tele at its bestin capturing Christmasspirit: remotes. studioplays and special filmsfeatured.

WABD John Wanamaker's pre-sented Bob Emory in a Christmasprogram, shown three times inthe 12 to 2:30 spots on the fourSaturdays preceding Christmas.Special Christmas presentation forchildren was made with genial BobEmory handling long lines of chil-dren as he inducted them into theJohn Wanamaker's Santa's Tele-vision Club of 1946.

Program started with the title"John Wanamaker Presents" em-bellished with a wreath and a flashto Santa Claus, then a list ofcredits, and finally Bob Emory act-ing as big brother, welcomed hisyouthful audience. Following thiswelcome, an adorable group of chil-dren sang a Christmas carolagainst a snow-covered backgroundwhile artificial snow fell downon them from the studio roof. Ac-tual voices were recorded on aplatter and synchronization of thisnumber was excellent. The carol-ling was followed by a few stuntsin which selected children fromthe audience participated.

Jerry Iger, cartoonist -author of"Pee -Wee and the Sneezing Ele-phant," selected four children fromthe audience, asked for their ini-tials and then drew laugh -provok-ing sketches with their initial asthe core. Each child who partici-pated was presented with a copyof his book and a sketch. Then allthe children in the audience (it ap-peared as though there were thou-sands) were lead past Santa Clauswho presented each' of them with acard certifying that they had ap-peared on a television programwith Santa. The wondrous expres-sion that can appear only on chil-dren's faces when confronted withthe spirit of Santa Claus did notescape the television cameramen.One amusing, or perhaps slightlyjarring note occurred when a five-year -old who was theoreticallypassing through Santa's winterworkshop, said, "Boy, it's hot downhere!"

30 Television

WNBT's mobile equipment tele-vised the crowds in Gimbel's toydepartment, roaming around to pickup the merry-go-round, the milkbar, the mechanical toys, and theusual Christmas displays. Climax ofthe remote was Santa himself, lis-tening to the youngsters and dis-tributing gifts ... Another "Christ-mas spirit" trip was made to theGeneral Post Office to show the vol-ume of mail handled during theholiday rush. One camera was lo-cated below the incoming parcelpost window in the Post Officebuilding and a second on the floorbelow where packages are broughtdown on conveyors - the so-called"Niagara Falls" of the post office.Rockefeller Center Choristers weretelevised at Rockefeller Plaza. Twocameras were used to pick up thecandlelight procession to the plat-form in the Plaza. Musical programincluded all the favorite Christmascarols.

"The Night Before Christmas,"based on a story from CoronetMagazine which dramatized howthe now -classic lines of the poemwere written, was presented by theVeterans Production Group of theAmerican Theatre Wing . . . Firstcombination studio -remote show atNBC, "According to Joseph,"opened with a mobile pick-up fromRockefeller Plaza, moved into thestudio, and then returned to thefield.

On Christmas Day, Wanamakerpresented "Music for a ChristmasNight," followed by "A Goblin'sChristmas" with the Suib Marion-ettes.

WRGB kept the Christmas spiritwith a playlet, "Santa's Whiskers"and a musical program, "Susan'sXmas Town."

WCBS-TV's program schedulewas also flavored with the Christ-mas touch. On the Ipana "Shorty"program, cartoonist Syd Hoff tookShorty on a trip to the North Poleto see Santa Claus. On ChristmasDay, special program opened withthe American premiere of a Czecho-slovakian musical film. Puppets,animation and live action drama-tized a little girl's dream. This wasfollowed by a choir singing Christ-mas music. "Desert Shall Rejoice,"modern version of the Nativity,which was presented last year, wasrepeated this year with the samecast. Setting, a la "The PetrifiedForest," was a combination gas sta-tion, tourist camp and restaurant.Greek who ran the station sentaway to the nearest big city to pur-chase the electric star sign from adefunct theatre. Star rose fifty feelover his restaurant, lighting up thedesert. Various characters wanderin and out-a young couple whosecar broke down, cowboys who ride18 miles to trace the source of thewondrous star, a doctor, etc. Spiritof Christmas is built throughout,

with the Greek who doesn't believein Christmas finally succumbing bygiving his wife a gift. Show wasdirected by Ben Feiner.

W6XYZ's mobile equipmenttelevised the Christmas Day highmass directly from the church outin Los Angeles.

Commercial shows featuredChristmas themes for the week pre-ceding Christmas as well as theholiday week itself. In addition,special motion pictures were shown,such as films of Santa Claus, Inc.(presented by Firestone), and theparty given in Washington forchildren of the Diplomatic Corps.

Christmas carols were musicalbackground for test pattern and aseries of Christmas slides were usedto visualize the carolling at thesign -offs.

ABC featured Johnny Olsen ina special Christmas Eve party overWABD for the youngsters. In co-operation with the Kiwanis Club 50children attended the party, parti-cipated in games, and were fedcandy, cake and ice cream. ABCshow over WPTZ the previous weekfeatured Vera Massey in a specialChristmas Carol program.

WABD's remote equipmentpicked up the candlelight processionand carol service from GraceChurch on Christmas Eve, whichwas sponsored by U. S. RubberCompany.

.'1111°dPi Typical Weekly ProgrammingMONDAY12:00- 3:00 Special Program - for

RCA Victor televisiondealers (studio, film,remote) WBKB

1:00- 4:00 I.N.S. News, Music andtest pattern WABD

7:30- 7:45 Minor Opinions - GaryPublic Schools WBKB

7:30- 7:50 American Indian Lore-Museum Natural His-tory WRGB

7:45- 8:00 Short Subjects (film)WBKB

7:60- 8:00 Lapland No. 2-Mrs.Carveth Wells (film)

WRGB8:00- 9:00 Little Men (film)

WABD'The Bad Men ofThunder Gap WPTZThe Bad Men of Thun-der Gap (film) WNBT*The Bad Men ofThunder Gap WRGB

8:00- 8:15 Judy Talbot's VarietyShow Case WBKB

8:15- 8:30 Short Subjects (film)WBKB

8:30- 8:45 Behind the HeadlinesWBKB

8:30 The Christmas Spirit of

1946 (film and live);cartoons, film shorts

W6XAO8:45- 9:00 Short Subjects (film)

WBKB9:00-11:00 Amateur Boxing - Ja-

maica Arena WABD9:00 Adam vs. Eve (partici-

pation) WBKB9:00- 9:10 Esso Reporter-news-

reel WNBT'Esso Reporter WPTZ'Esso Reporter WRGB

9:10- 9:20 Voice of Firestone (film)WNBT

*Voice of FirestoneWPTZ

*Voice of FirestoneWRGB

9:20-11:00 Gillette Cavalcade ofSports-boxing from St.Nicholas Arena WNBT'Cavalcade of Sports

WPTZ'Cavalcade of Sports

WRGBTUESDAY

P.M.12:00- 3:00 Special Program - for

RCA Victor televisiondealers (studio. film,live) WBKB

1:00- 4:00 I.N.S. News, Music and

Test Pattern WABD7:30- 7:45 Midwest Tele-Topic

Forum - Howard Wil-liams WBKB

7:45- 8:00 Short Subjects (film)WBKB

7:30- 7:50 A Dance ProgramWRGB

7:50- 8:00 A Glance at the Head-lines - Don Patrick

WRGB8:00- 8:30 ABC "Play the Game"

- Alexanders (char-ades) WABD*"Play The Game"

WTTG8:00- 8:15 Clay Modeling - Egon

Weiner WBKBA Date With A Tank- (film) WRGB

8:15- 8:30 Short Subjects (film)WBKB

8:15- 8:25 The Jolly ThreeWRGB

8:30- 9:00 Short (film) WABD8:30- Tommy Bartlett Time

(variety) WBKB8:30- 8:40 Paramount News

(film slides) W6XYZ8:25- 8:40 Statue Parade (film)

WRGB8:40- 9:00 Picture Puzzles

WRGB

January, 194731

Your Town - Testingfor Better Streets(forum) W6XYZ

.9:00- 9:30 U.S. Rubber - ServingThrough Science (film)

WABD"Serving ThroughScience WTTG

9:00- Basketball-Pan PacificAuditorium W6XYZ

WEDNESDAYP.M.

12:00- 3:00 Special Program -RCA Victor TelevisionDealers (studio, film,remote) WBKB

1:00- 4:00 I.N.S. News, Music andTest Pattern WABD

7:30- 7:50 "On the Job" - RedLevy WRGB

7:30- 7:45 Associated AmericanArtists WBKB

7:45- 8:00 Short Subjects (film)WBKB

7:50- 8:15 "Keep Fit ThroughWrestling" and "Landof Eternal Silence"(film) WRGB

8:00- 8:30 The Doll Theatre -Wanamaker's (chil-dren's variety)

WABD"The Doll Theatre

WTTGMarshall Field Theatre- Don McNeill

WBKB"Toyland" - pick-upfrom Gimbel's WNBT

8:15- ABC Sports - IceHockey from Philadel-phia Arena WPTZWRGB Hoe -DownNight WRGB

8:30- 9:00 Shorts (film) WABD"Shorts WTTG

8:30- Hockey - ABC -Gen-eral Mills WBKBFilm Features WNBT

Ice Hockey - Pan Pa-cific Auditorium

W6XYZ9:00- 9:30 Faraway Hill (dra-

matic serial) WABD'*Faraway Hill

WTTG9:30-11:00 Professional Boxing -

Jamaica ArenaWABD

"Professional BoxingWTTG

THURSDAYP.M.

12:00- 3:00 Special Program - forRAC Victor TelevisionDealers (studio, film,remote) WBKB

1:00- 4:00 I.N.S. News, Music andTest Pattern WABD

7:30- 7:35 G -E Appliance Com-mercial WRGB

7:30- 7:40 Over Shoemaker'sShoulder (cartoon for-mat) WBKB

7:35- 7:50 Christmas Playlet -"Santa's Whiskers"

WRGB7:40- 8:00 Winners of the West -

Episode 11 WBKB7:50- 8:00 NBC Television News-

reel WNBT' NBC Television News-reel WPTZ* NBC Television News-reel WRGB

8:00- 9:00 Standard Brands' HourGlass (variety)

WNBT* Hour Glass WPTZ*Hour Glass WRGB

8:00- 8:30 Hirshon-Garfield's De-tect and Collect - ABCparticipation)

WABD"Detect and Collect

WTTG8:00- 8:15 Cavalcade of Medicine

-A.M.A. WBKB

WRGB unveiled the latest in mechanical pickers. This one, for de -featheringchickens, was demonstrated by its inventor John Guertze, a I6 -year -old 4-Hfarm boy, who beat his hand-picking rival by a ratio of five to one.

8:15- 8:30 Short Subjects (film)WBKB

Gulf News (film andlive) WCBS-TV

8:30- 9:00 Short (film) WABD8:30- Variety WBKB8:30- 9:00 Junior High School

Quiz WCBS-TV9:00- 9:30 Cash and Carry (quiz)

WABD"Cash and Carry

WTTG9:00- 9:30 Sears Visi-Quiz (par-

ticipation) WPTZ9:00- Basketball - from

Madison Square Gar-den WCBS-TVBasketball - from Pa-cific Auditorium

W6XYZ9:00- 9:15 You Are An Artist

(Gulf) - Jon Gnagy(art lesson) WNBT*You Are An Artist

WRGB9:15- Christmas Film

WNBT9:15- *Christmas Films

WRGB

FRIDAYP.M.

12:30- 3:00

1:00- 4:00

4:00- 5:00

7:30- 8:00

7:30- 7:45

7:45- 8:00

8:00- 8:30

Special Program - forRCA Victor TelevisionDealers (studio, film,remote) WBKBI.N.S. News, Music andTest Pattern WABDSears Matinee forYouth (film) WPTZWhat Men Live By -play WRGBTele-Chats - The Fair(news) WBKBShort Subjects (film)

WBKBDate with Destiny -American Television So-ciety WABD"Telequizicalls" -Commonwealth EdisonCo. (participation)

WBKB8:00- 8:15 The American Home -

U.S. Rubber (film)WNBT

8:00- 8:20 *The American HomeWRGB

8:00- ABC Rumpus Room -Johnny Olsen (partici-pation) WPTZ

8:15- 8:30 Let's Rhumba - D'Ava-los WNBT

8:20- 8:30 Let's RhumbaWRGB

8:30- 9:30 Silver Devil (film)WABD

8:30- 8:46 I Love To Eat - Bor-den (cooking format)

WNBT8 :30- 8 :45 Susan's Xmas T own

(musical) WRGB8:30- Ice Hockey - Pan Pa-

cific AuditoriumW6XYZ

Boxing Bouts - RainboArena WBKB

8:45- 9:00 The World in YourHome - RCA Victor(film) WNBT*The World In YourHome WRGB

9:00-10:00 Gillette's Cavalcade ofSports - boxing fromMadison Square Gar-den WNBT

(Continued on page 39)

32 Television

FILMS

It won't be long before televisionwill scoop the newsreels daily, judg-ing from the recent "firsts" thathave been appearing on station'snews telecasts. Good example wasthe recent New York City holo-caust, where fire and explosionripped open a 22 -family tenement.Camera crews of NBC, ABC andCBS were on the job, with filmshown over all three stations-WNBT, WCBS-TV and WABD(through ABC)-that night.

Quick film showings of newsevents is not limited to local areasalone, however. Through free-lancecameramen, NBC's Paul Alley se-cured films of such high -interestevents as John L. Lewis' courtroomappearances, and the Europa sink-ing at Le Havre for pre -newsreelshowing over WNBT. Paul Mowery,ABC's television head, exhibitedquick thinking in securing cover-age of the Mansfield, Ohio trainwreck. He immediately wired sta-tion WMAN, an ABC affiliate, toput a spot announcement on theair asking for films which had beentaken of the disaster. Response tothe spot announcements resulted inthe acquisition of several hundredfeet of film which was immediatelyflown by special chartered plane toCleveland, Ohio. From there, it waspicked up by regular transport anddelivered to ABC in New York. Thenext afternoon film, edited andtimed to a live studio narration,was presented by ABC over WABD,and sponsored by U. S. Rubber Co.

Year-end compilations of impor-tant events got a new twist withthe Esso-sponsored "Silly Side of'46." Such laugh -provoking stuntsas the Shaving Derby, the SkatingDerby, the story of the humanicicle and the Baby Beauty Con-test were included. Other round-ups included the sports thrills of1946 and the news in review.

Typical Reel

Here's a sample reel, which istypical of the fare that goes intothese weekly Esso-sponsored ten-minute programs:

"John L. Lewis Wins 10 -day De-lay" - scenes of Lewis leavingWashington court; workmen leav-ing jobs and trains idle in yards;dim-out on Broadway.

News coverage consistently beats newsreels

"Navy Begins Operation Zipper"-Airviews of USS Washington,Alaska, Guam and Wasp as job ofsealing ships gets underway. Deckclose-ups of how vessels are en-cased in cocoon -like moisture -proofplastic.

"Rocket Camera Films Earth 8Miles Up" - Sensational picturesfrom White Sands ProvingGrounds, New Mexico, showed U.S.Army Air Forces cooperating withJohns Hopkins University in film-ing earth from tail of a blazingrocket. Scenes were caught by theautomatic movie camera as itrushed skyward at rate of 4,000feet per second.

"Movie Stars Home from Com-mand Performance" - Arrival ofPat O'Brien, Reginald Gardner,Madeline Carroll on the QueenElizabeth after special commandperformance before King andQueen of England.

"Thanksgiving 1946 -a Day ofRe -Dedication" - Scenes taken byNBC cameramen inside a little NewEngland Church.

Tele-Movie Tie -UpsGood sign that tele and movies

are going into the courting stage isevidenced by two pre -opening show-ings of films before their theatredebuts. One was "Operations Un-derground," shot in Paris duringthe war, and produced by TelenewsProduction. Film was shown overWNBT and relayed to WPTZ andWRGB prior to its opening at the

no platitudesno rosy propheciesjust 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

Embassy Theatre. W6XAO is alsoscheduled to show "New Orleans,"before its official opening.

CBS also featured the Americanpremiere of a Czechoslovakian film,"Christmas Dream," which wastelecast on Christmas Day. Filmwas obtained from the Czechoslo-vakian film exchange.

Documentaries

First film in ABC's series of"Video Reports to America," wasproduced in cooperation with theAutomobile Manufacturers Asso-ciation. Cost of this film to ABCwas $10,000-which was low for a30 -minute production. About 20%.of the picture was made of shotsfrom various motor companies'libraries. Film was on 35 mm. stockwith sound track added.

Titled "New Cars," film left nodoubt about the multiple problemsconfronting the automobile indus-try. It capably projected the inter-dependence branches of in-dustry with shots of agriculture,mines, steel mills right down tofinal assembly lines. Good use wasmade of animated diagrams to backup the point. International anglewas explained with film clips ofworkers in foreign countries as-sembling American watches.

After its tele showing overWABD, WTTG, WPTZ, WRGB,and WBKB, the AMA plans to dis-tribute the film on a nation-widebasis.

Future subjects in the series willbe "Housing in the U. S.," "TheAmerican Merchant Marine," "La-bor and Management," and "PublicHealth." Harvey Marlowe is pro-ducing the series for ABC.

In the MakingSome government agencies are

considering producing educationalfilms for television much as theyturn out shorts for the movies . . .

The National Association of Broad-casters and the National Retail DryGoods Association are working on ajoint project to film television com-mercials for use by prospective TVsponsors. It seems that several de-partment stores have indicated awillingness to sponsor TV but areat a loss to prepare commercials.

January, 1947 33

EQUIPMENTCost comparisons of UHF and VHF equipment; dia-grams of CBS dual band receivers -patents

WHILE costs on station equipment have appeared in these pages manytimes before, the following figures presented by CBS in recent testi-

mony before the FCC in the color hearings, are a fair and concise recapitu-lation of station costs.

CAPITAL COSTS OF VHF BLACK AND WHITE ANDUHF COLOR TELEVISION STATIONS

Master Station(Metropolitan I RCA

Avg.Costs Based Avg. Costs,on Wash- Los An-

ington, D. C. geles, Calif.G.E. Co. TV Hearings TV Hearings

WORNY, TVStation

UHFColor TV'

(PresentlyAvailable

Equipment)Equipment $327,240' $386,218 $395,000 $427,400General Construction

(other than equip-ment) 350,000' 535,517 248,500 350,000

Total $677,240 $921,735' $643,500' $777,400

Standard Station(Metropolitan)

Equipment $225,640' $225,000' $254,625 $305,675General Construction 246,000 246,000 202,219 246,000

Total $471,640 $501,000 $456,844' $551,675

Small Station(Community)

Equipment $162,390 $135,000' $229,150Construction 140,000 120,000 140,000

Total $302,390 $255,000 $369,150

Breakdown of Equipment CostsFacilities VHF Black & White

Equipment for a Master Television StationUHF Color

1. Studio and stud in control room t .quipnunl 12

main studios) $126,950 $142,6502. Film projection and film control room equip -

ment 48,700 80,150'3. Master control room equipment 15,200 15,2004. Announce studio 11,250 17,0005. Transmitting equipment 87,400 126,1506. Field pickup equipment 37,740 46,250

$327,240 $427,400

Equipment for a Standard Television Station1. Studio equipment $36,700 $31,3252. Film equipment 36,100 46,900'3. Control room equipment 27,700 55,0504. Transmitting equipment 87,400 126,150'5. Field pickup equipment 37,740 46,250

$225,640 $305,675

Equipment for a Small Television Station1. Portable field equipment $37,740 $46,0002. Film equipment 17,550 23,500'3. Studio control room 19,700 33,5004. Transmitting equipment 87,400 126,150

$162,390 $229,150

Note (1) Does not include 35 mm projectors.Note (2) Based on a separate transmitter for the sound channel and including an-

tenna but not antenna supporting structure. If diplex modulation is usedthe color transmitter cost may be reduced by $39,000.

(1) RCA equipment costs are basedon information obtained from the NewYork Sales Office of RCA and repre-sent those facilities described in theRCA Sales brochure as "EquipmentLayout for a Master Television Broad-cast Station." Two studios are con-templated. CBS estimates coveringspare parts, test equipment and othernecessary accessories are included.

(2) Color television equipment costsare based on information obtainedfrom the Federal Telephone and RadioCorporation, the Federal Telecom-munications Laboratories and theWestinghouse Manufacturing Com-pany, plus considerable experience inthe CBS Engineering Research andDevelopment Laboratory where proto-types of major components have beendesigned and built for an entire colortransmission system. The facilitiesfor the three u -h -f color stations arecomparable respectively to those ofthe RCA "master," the "standard"and the "small" station.(3) General construction costs arebased on CBS experience at televisionstation WCBS-TV (formerly WCBW)and represent an average of suchcosts as estimated by all of the appli-cants in the Washington, D. C., andLos Angeles, California, TV stationhearings held before the FCC Dockets7014 and 6370.

(4) This includes the average cost offacilities proposed by applicants atthe Los Angeles v -h -f television hear-ing. The Times-Mirror Company andTelevision Productions, Inc., costs arenot included, because they were notconsidered typical.

(5) The proposed WOR New Yorkv -h -f TV station estimated costs coverfacilities not claimed comparable tothe RCA and the u -h -f Color "Master"Station facilities proposed. However,the WOR costs are indicative of ex-penditures necessary to construct acommercial Metropolitan TV station.

(6) RCA standard station equipmentcosts, in this case, are based on in -formation received from the NewYork sales office of RCA and repre-sent those facilities described in theirsales brochure, entitled "EquipmentLayout for a Standard TelevisionBroadcast Station." One studio is con -templated. CBS cost estimates cover-ing spare parts and tubes, test equip-ment and other necessary accessories,are included.

(7) The General Electric Companyequipment costs are based on theirwritten cost estimates covering aMetropolitan Television Station, theirletter of October 22, 1946. In thiscase, an announce studio, in additionto the main studio, is included, whichprobably accounts for their costs be-ing in excess of those provided byRCA.

34 Television

Professional DirectoryRING & CLARK

Consulting Radio Engineers

WASHINGTON, D. C.

\ 1 uney Bldg. Republic 2347

JANSKY & BAILEYAn Organization of

Qualified Radio EngineersDEDICATED TO THE

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

WELDON & 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

HOYLAND BETTINGER

Television ConsultantStudio Design, Lighting,

Personnel Training

595 Fifth Avenue PLaza 8.2000

FRANK H. McINTOSH

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

WASHINGTON, D. C.

COMMERCIAL RADIO-t) EQUIPMENT CO.R adio Engineering Consultant

Complete 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. McKEY& ASSOCIATES

1730 Connecticut AvenueN.W. Washington 9, D. C.

Telephone: Adams 3711Dixie B. MeKey

Dabney T. Waring, Jr.

BROADCASTING STUDIOSDesign and Construction

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

Cleveland

A Nation -Wide ED, Organization

McNARY & WRATHALL

Consulting Radio Engineers

National Press Bldg. DI. 1205

WASHINGTON. D. C.

WORTHINGTON C. LENT

Consulting EngineersInternational Bldg. Wash., D. C.

1319 F Street, N. W. 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

PROFESSIONAL DIRECTORY

Open to Engineers andConsultants only

Rates $72 per 12 insertions

(8) This includes the average cost offacilities proposed by applicants atthe Washington, D. C., v -h -f televisionhearing. Excluded from the averagewere the estimated costs of theWWDC and Evening Star proposalswhich were not considered typical. Thefacilities proposed at Washington,D. C., are not entirely comparable tothose appearing in the RCA, G. E.Company and u -h -f color columns.

(9) The General Electric Companyequipment costs for a small or Com-munity station include less facilitiesthan the RCA and u -h -f color pro-posals (no live talent main studio orfield equipment). The latter proposalsare based on a station layout as de-scribed in the RCA sales brochureentitled "Equipment Layout for a

Small Television Broadcast Station."The General Electric Company sta-tion facilities proposed are for asatellite or network repeater station.

Note: The radiated power in the caseof RCA equipment is assumed to be15 kw for video and 7% kw for soundfor channels 1-7 inclusive, and slight-ly less than 40 kw video radiatedpower and slightly less than 20 kwradiated power for sound for chan-nels 8-13 inclusive. The effective radi-ated power of the General ElectricCompany equipment is assumed to beapproximately 25 kw for video and12% kw for sound for all v -h -f TVchannels. The effective radiated powerof the u -h -f color transmitting equip-ment is assumed to be 15 kw for videoand 7% kw for sound.

DUMONT SHOWS NEW TUBES

Experimental model of a Trich-romoscope Tube, developed by Du -Mont Laboratories, was shown toFCC members recently. This cath-ode ray tube has three bases,equipped with either filters or vari-ous colored phosphors, focused on acomon screen by means of threelenses and fed from identical scan-ning signals. Further developmentwork is being done on the tube inorder to increase the face size andto utilize higher operating voltages.Use of the Trichromoscope wouldmean only one cathode ray tube in -

January, 1947 35

Comparison of CBS Color and Black and White Equipment

1COLOR DRUMa MOTOR

InnSWEEP AAAAA ONO CIRCUITS

ORTMOON CAMERA

0

aO

I 66wCHANNELMONITOR

vIDEO

v !DEO

AMPLIFIER a

GAMMA CONTROL

COLOR

Mi )(EP

COLOR PULSE

I SYNC

GENERATOR

I AUDIO

AMPLIFIER

COMPOSITE Sy NC

LINE

MO MIT DR

VIDEO SOUND

SYNC M XER 6AMPLIFIER

COMPOSITE VIDEO

HORIZONTAL SYNC

r--- -1RASED F M UNIT

KM, IF Pam I

'.1 FM IS witel IL- - _J1 TO SOUPS) TRANSMIT TER

UN F

TRANSMITTER

(IF SEPARATE SOUND CARRIER IS

AUDIO DETECTORPER OR,

7 GATE D SCRIM ..00.AMPL(14

Above: Present CBS color television studio equipment. Comparingthis with the black -and -white system, additions in studio equipmentare color filtering means in the pick-up camera and a color mixer.to permit changing color values to suit program requirements. Theseunits are indicated by heavy black line. Unit, framed in dotted lines(if used) represents equipment for diplex transmission of sound andpicture. If diplexing is not used, a separate sound transmitter may beemployed as in black -and -white. At right: Block diagram of colorreceiver. Additional items as compared to black-andwhite are thecolor selecting means at the cathode ray tube, at present a color discwith driving motor and a motor control unit which synchronizes thecolor selecting means at the receiver with that at the transmitter.

DETECTOR

A

VIDEO

S YNC

SEPARATOR

,1111111

USED)

HORIZONTALSWEEP

!HIGH VOLTAGE ISUPPLY

DISC 0 DRIVE

MO1(0

cOo,Ral.

stead of three as used in RCA'srecently demonstrated simultaneoussystem. Tube could also be used inthe sequential system, althoughlight would be only 1-3 that of thesimultaneous system.

High intensity cathode ray tubefor present day black -and -whitestandards which will give up to ap-proximately 200 foot lamberts lightoutput, was also demonstrated.Brilliance is about 15 times that oftubes now in use and screen can beclearly seen even under floodlights.

patentsMotion Picture Synchronizer

Joseph D. Shantz, Fort WayneInd., won Pat. No. 2,412,098 on a

color scanning system designed tohandle the standard rate of trans-mission of motion picture film (ap-plication for patent July 1, 1944;13 claims allowed, assigned toFarnsworth Television & RadioCorporation).

The Shantz patent contains aclear review of the difficulties in-volved in coordinating the standardtelevision transmission field fre-quency of 60 per second, twice in-terlaced to provide a frame fre-quency of 30 per second, with thepresent motion picture standard of24 pictures per second. If koda-chrome or technicolor films are tobe televised, some efficient waymust be found to synchronize therotating light filter disk of thetransmitter with the film.

This patent is based upon thenow -familiar scheme of scanningsuccessive pairs of picture framesfive times while the picture trans-mission rate is 24 per second. Thusthe field scansion period follows thestandard 60 cycles per second andthe picture transmission rate cor-responds to its accepted standard of24 pictures per second. Usually inthis system, the first picture frameis scanned three times and the suc-ceeding frame is scanned twice.Trouble is that this system doesn'ttie in with the standard rotatingdisk of either three or six colorfilters.

The Shantz patent covers a five -color filter disk (red, green, blue,and two intermediate colors) and amethod of interposing this disk in

36 Television

CBS Dual Band Receivers

uoFI10- S20 MC

L.

F

40 220 MC

TUNEROSCILLATOR

N N,RER

,STAGE

LOW RAND TUNER() TUSE S ADDITIONAL

c"". S I F

STAGES

DE TEIITOR

010E01ER

:5:

DUAL BNOSOUND F

DI 5 a I I MCI

r PULSERECTIFIER

DUALDISCRIMINATORII TUNE DC1.1.3

4:3::

2K

YNC SIPARATiOta_.a rEATICAL

NOM ZONTALDEFLECTION

S'T

COLOR DISCSYNC

CIRCUITS

UDIDAMPLIFIER

L-IR-- ID ACDISC CENT

NII TYON

SPCER

DUALDISC

Diagram above shows the dual band receiver in its present form with the addition of suitable switches and a small lowfrequency tuner having three tubes. Units marked "S" inside dotted circle contain switches, ganged so that a singlecontrol selects the various operating conditions. When receiver is switched to black -and -white and the color discsstops, two sections of the disc shift slightly with respect to each other, leaving a large enough opening for viewingthe black -and -white image without filters. Below: Block diagram shows dual -band receiver proposed by CBS whichaccording to Dr. Goldmark's design requires no more tubes than the standard UHF color receivers. This is accomplishedby a tuner designed to cover both UHF and the low frequency bands. Construction has not yet begun on this receiver.

010-110 C

L F

0022011C

STEP TYPEUN! LTUNER

OSCILLATOR411E

" - 1NOICT ES ADDITIONAL COMPONENTS INOUIREDIN PRESENT SW COLON RECEIVER INDICATES SWITCHING

II IF T AGESSANDNIUTHSWITCHED

V PULSERECTIFIER

910E0Amos, as

DUAL BANDSOUND I

( A 5 II MCI

DUAL

OISCRIM MAYOR

VTICSEPARAT KI VtAICALIONNICON TALDEFLECTION

iZ RV

COLOR DISCSYNC

CIRCUITS

AUDIO

AMPLIFIER

:

CoDISC CENT

IIDA/C

SUTTONN SPEAKER

DUALDISC

synchronized rotation between thefilm-or other optical image to betransmitted-and the televisiontransmitter tube. A similar disksynchronized with the disk of thetransmitter is arranged in front ofthe receiving tube between the tubeand the observer. The scanningsystem covered by the patent canbe used for direct pickup as wellas for movie transmission.Light Control

A more efficient mechanism forcontrolling light intensities in pro-duction of large television imagesis covered in No. 2,412,520, grantedto David B. Langmuir, Englewood,and John S. Donal, Jr., PrincetonTownship, Mercer County, N. J.;application for patent Aug. 26,1943; 7 claims allowed, assigned to

Radio Corporation of America.This patent represents an effort

to improve the kinescope systemswhere a separate source of light isutilized so that the cathode raybeam can be used merely to controlthe light from the constant sourceof high intensity.

The valve system covered by thispatent includes two electron gunstructures for producing separateand independent cathode raybeams. This circuit provides ahighly efficient method of makingthe electrostatic field persist aslong as possible in order to obtainhigh optical efficiency.

Stereo TelevisionOne more stab at stereo tele-

vision is covered by No. 2,410,725,

granted to Alan Philip Franklin,Lower Kingswood, England, on aviewer device designed to givethree-dimensional effects with aminimum of trouble. Applicationfor the patent was made in August,1944; five claims were allowed.

Automatic Gain ControlNot related solely to television,

but of general interest to elec-tronics engineers, is No. 2,412,423,granted December 10 to Jan A.Rajchman and Edwin A. Goldberg,Princeton, N. J., (assignors toRCA) on an automatic gain controldesigned to handle multipliers ofall types. The patent goes into con-siderable detail on means for con-trolling the gain of an electronmultiplier.

January, 1947 37

DISSECTOR CAMERA -

COLOR AND BLACK8 WHITE SLIDEPROJECTOR

\-16mm FILM SCANNER

ARC LAMP

DOUBLE TRACE WAVE SHAPE MONITORING

OSCILLOSCOPE AND SYNCHRONIZINGSIGNAL GENERATOR.

SYNC, SOUND, VIDEO, MIXER AND LINE

AMPLIFIER

PICTURE MONITOR

COLOR MIXER

VIDEO AND GAMMA AMPLIFIER

'--POWER SUPPLY

CBS Film Channel Studio EquipmentThe color film and slide transmission equipment sketched above is designed both asa unit to serve broadcast stations and to be utilized as test gear by receiver manufac-turers. The standard color television composite signal from this equipment can beused to modulate either a color television broadcast or a production test trans-mitter. Equipment was manufactured by Westinghouse, utilizing CBS designs.

Programming Schedule of

9:30-11:00

10:00 -

SaturdayP.M.

12:00- 2:30

12:00- 3:00

7:30- 8:00

8:00- 8:15

*Cavalcade of SportsWRGB

*Cavalcade of SportsWPTZ

Wrestling from Jamai-ca Arena WABDFeature Bout WNBT*Feature Bout

WRGB*Feature Bout

WPTZ

Wanamaker's Children'sChristmas Show

WABDSpecial Program -RCA Victor TelevisionDealerg (studio, film,remote) WBKBKing's Party Line (par-ticipation) WCBS-TVSaturday Revue - JillTownsend (variety andfashion show)

WCBS-TV8:00- Atlantic Refining Com-

pany Sports-Basketballfrom U of Palestra

WPTZ8:15- 8:20 CBS Television News

WCBS-TV8:20- 8:45 "Variety Showcase"

WCBS-TV

Operating Stations8:30- Ice Hockey - Pan Pa-

cific AuditoriumW6XYZ

8:45- Basketball - fromMadison Square Garden

Ford WCBS-TVSunday

P.M.2:00 - Professional Football

Playoff from PoloGrounds WNBT*Professional FootballPlayoff WPTZ

8:00- 8:15 Standard Brands' "Faceto Face" - Bob andEddie Dunn(studio cartoon quiz)

WNBT*Face to Face WRGB*Face to Face WPTZ

8:00- 8:10 The Telefunnies (fav-orite comic strips)

W6XYZ8:10- 8:20 Paramount News (film

slides) W6XYZ8:15- 8:30 News - Tom O'Connor

WCBS-TVBristol-Myers' Tele-Varieties WNBT*Tele-Varieties WPTZ*Tele-Varieties

WRGB8:20- 8:30 Christmas Shopping at

Home W6XYZ

S:30-

8:30- 8:45

8:30- 8:40

8:30- 9:00

8:40- 9:10

8:45-

9:00-

9:10 -

(continued from page 32)

Hockey - ABC -Henry Lytton & Son

WBKBBristol-Myers Shorty -Syd Hoff WCBS-TVMusical (film)

WNBT*Musical (film)

WRGBHits and Bits - Rich-ard Lane (variety)

W6XYZLet's Celebrate - Bor-den Company (partici-pation) WNBT*Let's Celebrate

WRGB*Let's Celebrate

WPTZSports Almanac -Bob Edge WCBS-TVBasketball - Pan Pa-cific Auditorium

W6XYZNBC Television ScreenMagazine WNBT*NBC Television ScreenMagazine WRGB*NBC Television ScreenMagazine WPTZ

*Relayed from WNBT

38Television

Setting Up A Filmjob with its own facilities and staff,will require a film editing and, ifpositive prints are to be made, anegative timing section. This sec-tion will of course have to meet thedesired standards of cleanliness andsafety. Its basic equipment will in-clude rewind tables, rewinds, ex-tension editing flanges, numberedor lettered racks or compartmentsfor film cuts, film splicing machines,editing machines (Movieolas, etc.),footage counters, metal furniture,safety cans for scrap films, etc. Ifnegative is to be used for televisionprojection, consideration should begiven to the development of a videoeditor (electronic reversal) whichwill permit the film editor to viewa positive on a conveniently lo-cated video screen.

PersonnelThe qualifications of personnel

for this section should be carefullyscreened, as the technique of filmediting is a highly specialized art.Person undertaking the task shouldbe equipped with a strong dramaticsense that will permit him to select,through what will amount to crea-tive ability, the proper angle andlength of scene that will ultimatelypresent the strongest and most ef-fective interpretation of the filmmaterial to be televised.

Negative timing, the selection ofthe correct intensity of printinglight to compensate for the differ-ence in density between differentscenes of an edited negative, alsodemands more than run of the millskill, and personnel engaged forthis function should possess thenecessary qualifications. Basicequipment for this section, an in-spection type rewind table, fourediting type rewinds, one synchro-nizer type footage counter, two filmsplicers, one movieola type film edi-tor, and metal accessories wouldcost approximately $1,400.

Positive Printing SectionThe television station that con-

templates complete motion pictureproduction from special events tocommercial motion pictures willundoubtedly need a positive print-ing section. This will have to beconstructed along the same linesas the processing section and will,of course, have at least one printerequipped with an automatic lightchange device. Basic equipment forthis section will cost approximately$1,600. If the video station producesonly special events and uses nega-

Department (continued from page 17)

tive for projection, this section maybe entirely eliminated, along withthe facilities needed for timingnegatives.

Adequate vault space must beprovided for the storage of film inthe various stages of production,the station's film library, leasedcommerical productions, the storageof raw stock and other inflammablematerials such as film cement, etc.Film vaults should be constructedto provide the ultimate protectionand to meet all safety regulations.Safety cans filled with water shouldbe in each vault in order to providea safe storage space for small filmscraps until such time as they canbe destroyed.

Art SectionAnother optional section is the

art section. If the station is to pro-duce commercials a complete artand title section will be necessary.Basic equipment would include acamera bed and title stand, drivesand mechanisms for producingcrawls and effects, lights for thetitle stand, a camera permitting asingle frame exposure for the shoot-ing of animations, dissolve and fademechanisms, masks, etc. If the artwork is to be of the hand createdtype, space and equipment mustalso be provided. If the titles areto be printed then type, cases anda press will be necessary. In allprobability the television stationwill be equipped with an art depart-ment to produce still title and creditcards for its live productions.

Summing It UpThe above facts have been pre-

sented in order to picture for thereader just a few of the manytechniques and equipments that willhave to be considered in the plan-ning of such a department. In myopinion, three types of Film Pro-duction Departments can and willbe activated:

The 100 per cent station operateddepartment that will handle the en-tire film production job from load-ing the camera to providing a printor negative for projection;

The Camera Department thatwill handle photography and editingonly, with the processing phase be-ing handled on a contract basis byan outside laboratory;

The Supervisory Department thatwill handle only direction and su-pervision of editing, with the actualproduction being handled on a con-tract basis by a commercial motion

picture producer.Many factors will control the

amount of film production any tele-vision station may be required toenter into. In a location where fa-cilities and terrain permits, manyspecial events coverages can behandled "live" with video camerasand relay transmitters as well as"land lines." However, the samecoverage in a different location mayhave to be handled on film due tostructural or terrain barriers to re-lay transmissions or lack of linefacilities. Difficult as it may be, be-fore a television station sets up afilm production department of anytype, an attempt should be made toanticipate the possible percentageof future programming that will beprovided by live shows and pickups, network facilities and productof outside producer -distributors oftelevision -film productions. If it ap-pears that such facilities andsources will provide a major per-centage of a station's programs,then good business sense will dic-tate the organization of a film de-partment tailored to meet the sta-tion's minimized needs.

One Mon's Reflections(continued from page 20)

basket for misfits rejected by otherfields. Given the nucleus of one ortwo real competent men, the em-ployer can then-but only then-add a considerable number of rela-tively inexperienced, but interestedand reasonably intelligent people.His group leaders should then beentrusted with the task of train-ing these men in their future tasks,first on dummy and test programsand then on actual equipment as itis delivered to the station and realprogram. The point is that a prac-tical compromise involves provid-ing a few top-notch men with in-telligent and willing assistants andthus lead to the upbuilding of athoroughly competent and depend-able group. One does not have tohave nothing but the most costlymen of greatest ability. But onedoes have to hire some men of thiscaliber. In this fashion alone canone prevent failures in whateverbranch of television one may beengaged.

January, 1947 39

EDITORIAL

WHEN radio first broadcast baseball games, there was considerable cautious-ness on the part of the baseball magnates as to the possible effect on

attendance. There is no longer any need for cautiousness or doubt. The bestproof is the scramble for baseball teams to line up with the best radio stations.

Television will undoubtedly prove to be the largest attendance builder thatsports have ever known. Television will introduce major sporting events to thou-sands and thousands of people who have never been interested before. It is truethe newspapers carry stories about record -breaking attendance of 70,000 at theYankee Stadium and 18,000 for a top bout at Madison Square Garden. But arethese figures really large in view of metropolitan New York's ten million popula-tion? People who will see baseball for their first time will naturally want to seeat least one game a year in the "flesh." And that one game a year attendancewould fill the ball parks to capacity for every session. Perhaps the best indicationof the realization of this reasoning is the fact that all three major New Yorkteams-the Giants, the Yankees and Dodgers-have signed up for television.

And while we are on sports, let us not go overboard on its being the mostpopular feature that television has to offer. There will still be many millions whowill not have the slightest interest in watching boxing fights every Friday night,or baseball or hockey or any other big league sport. Too many are offeringstatistics to show that televising of sporting events is television's number oneattraction. That's easy to say now when there is very little that can competewith these major sporting events on a professional basis. Some televisionproductions now are entertaining, but few can be classified as top professionalentertainment fare. It will be interesting to see how well the Friday night boxingbouts will pull, if Jack Benny or the Theatre Guild were on a competing stationat the same time.

Obviously sporting events will play an important part in television program-ming, particularly at the present stage when facilities for live programming arelimited. But the eventual top rating television shows, with the exception of out-standing sporting events and championships, will be comedy, drama and varietysimilar to the entertainment the public has voted for in radio and the motionpictures. Let's not kid ourselves by all the attacks against the motion picture andradio industries' mediocre output. Both these industries are in business to makemoney. They can make money solely by giving the public what it wants, and westill like to say that it is acting more in the public interest to give the public whatthey want rather than what a few think they should have.

40 Television

" . . A Real contribution

to the industry . . . "

Nine(' its inception I bore Ieerr grateful for theobjective and complete reporting job done by TELE-UNION magazine i these development days oftelevision.

"In inv view this magazine is raking a very realcontribution to the industry by digging out the factsand printing them in an understandable and conciseform."

PVain:ger. Tr'lr'rision Dept.

ming & Inv.

More and more advertisers and broadcasters like Bill Forbes

of Young & Rubicam are depending on TELEVISION magazinefor the factual information which will help them in theirtelevision plans and work.

Each month TELEVISION is read by 4,000 key executivesin broadcasting, advertising, manufacturing, film production,publishing, department stores, and other closely allied fields.

Whether you are selling equipment, station time, programs,film-in fact whatever you are selling in television you'll findTELEVISION magazine, the industry's only monthly publication,the most effective medium to reach the men who buy.

TELEVISION magazine, 600 Madison Avenue, New York 22.

U illiam E. Forbes. manager of tele-vision. Y ming & Rubicant. Inc.

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. . on your new TELEVISION Stationsc,RIPPs-HOWARD -a name long cele-

brated in newspaper and radio worlds-moves into a new medium by staking a firstclaim in the promising field of Television.Cleveland will be given television broadcastingservice early in the summer of 1947.

It is significant that these wisely operatednewspaper and radio interests have chosenDu Mont television equipment. The contractfor the complete installation has been awardedby Scripps -Howard Radio, Inc., to Allen B.Du Mont Laboratories, Inc., pioneering pace-maker of the television industry and builderof more television broadcasting stations than

any other equipment manufacturer.Du Mont will provide and install a 5 kw

video transmitter, 2.5 kw audio transmitter, athree -camera studio chain, dual film pickupchain, a three -camera Image Orthicon fieldpickup chain, master control board, antenna,and complete audio, lighting and testingequipment.

Du Mont's fifteen years of precision elec-tronic "know how" assure tested, dependabledesigns. May we show you Du Mont equip-ment in use in the world's largest and mostcompletely equipped television studios - atStation WA B D, New York?

IF YOU HAVE NOT READ "THE ECONOMICS OF DU MONT TELEVISION," MAY WE SEND YOU A COPY? ASK FOR IT TODAY.

00 MONT 37;bvivid telectivonCopyright 1946, Allen B. Du Mont Laboratories, Inc.

ALLEN B. DUMONT LABORATORIES, INC. GENERAL TELEVISION SALES OFFICES A STATION WARD. SIS MADISON AVENUE. NEW YORK 22 N Y

D3 MONT'S JOHN WANAMAKER TELEVISION STUDIOS WANAMAKER PLACE, NEW YORK 3, N. Y. HOME OFFICES A PLANTS PASSAIC. N. I.