TelevisionTHE BUSINESS MAGAZINE OF THE INDUSTRY

35t December 1945

BUY MORE VICTORY BONDS

ELECTRONIC TELEVISION

IS AN RCA DEVELOPMENT

This is the seventh in a series of adver-tisements showing that RCA engineersdeveloped the basic essentials of theelectronic television system-includingtubes and circuits.

RCA built the first all -electronic tele-vision transmitters and receivers-thefirst commercial television station -established the first television relay sys-tem-presented the first electronic the-atre television-was the first to televisea baseball game and a Broadway play;and was first to televise from an air-plane.

RCA is, and will continue to be, theleader in practical, successful commer-cial television. You may expect the bestof all kinds of television transmittingand receiving equipment from RCA.

7. THE REMOTE PICK-UP EQUIPMENT

rr HE signal generated by the field -1 camera pick-up tube must be

greatly amplified (and synchronizingand blocking must be added) beforeit can be sent on to the studio or maintransmitter. Thus, considerable equip-ment, other than the field cameraitself, is required at the point ofpick-up. RCA built the first completeequipment for field pick-ups, and thefirst such equipment (shown here)using the Orthicon camera. In thisequipment, the signal, pre -amplifiedin the camera, is amplified further

The Fountainhead of Modern

to monitoring level and fed into theline or relay transmitter for trans-mission to the main studio. Syn-chronizing pulses are added to locktogether the scanning beams in thecamera and receiver tubes. Theequipment that accomplishes thesefunctions is completely contained inseveral suitcase -size units. This isthe equipment that NBC has used sosuccessfully in broadcasting fromMadison Square Garden, the YankeeStadium, and other points in NewYork City.

Tube Development is RCA

Blanking added

Synchronizing signal

Black level

Signal & synch.

RADIO CORPORATION OF AMERICARCA VICTOR DIVISION . CAMDEN, N. J.

In Canada, RCA VICTOR COMPANY LIMITED, Montreal

THE BUSINESS MAGAZINE OF THE INDUSTRY

Television

articles

VOLUME II, NUMBER 10 DECEMBER, 1945

Union Picture in Television-by Mary Gannon 6

Television Outlook in Cleveland-by Gilbert Winfield 9

Station Operations: Setting Up A Special Events Department-by James L. Caddigan 11

Telecasting a Football Game-by Bob Stanton 15

Television Magazine's Audience Panel Survey-by Frederick A. Kugel 21

Television Studio Control Equipment-by Herbert Taylor, Jr. 23

So You Think You Know the Medium-by Ben Feiner, Jr.

departments

25

Long Shots and Close Ups-by H. G. Christensen 17

One Man's Reflections-by Raymond Wilmotte 20

Advertising 26

Equipment-by T. R. Kennedy, Jr. and Jack Kilpatrick 30

Programming 34

Washington-by Dorothy Holloway 40

Editorial 48

COVER: Diagram of path of images between Washington and New York over the A. T. 8 T. coaxialnetwork. Television pickup is carried over special television lines to the long distance terminal in Wash-ington; from there by the coaxial cable system (which includes 50 amplifiers) to Baltimore, Philadelphiaand the long distance terminal in New York. Special television lines, provided locally, carry the program toNew York's three operating stations-WNBT (NBC), WCBW (CBS) and WABD (DuMont).

Frederick A. Kugel, Editor and PublisherMary Gannon, Managing Editor; Dorothy Holloway, Washington

T. R. Kennedy, Jr., Technical Editor; Gilbert Winfield, NewsJack Kilpatrick, Patents

Lawrence Sweeney, Business Manager; Evelyn Hellem, Circulation Manager

Just talking ...We have had some very favorable comments on our \ CAA'S Letters. Most comments have asked for

more frequent issues. We would like to do this. However, there isn't that much happening these daysto warrant it.

We will continue to send out News Bulletins only when the industry development is of particularsignificance to our readers, like the one we recently issued on the FCC final allocations. In thisbulletin we gave the industry more than a two-week advance notice on allocations before the FCCannouncement. Frederick A. Kugel. Publisher

Published monthly by Frederick Kugel Company, 600 Madison Ave., New York 22, N. Y. Single copy, 35 cents.Yearly subscription in the United States, its po ions and nations of the Pon American Union, $3.50; inCanada, 54.00: elsewhere, $4.50. Entered as second-class matter February 20, 1945 at the postoffice atNew York, New York under the act of March 3, 1879. Copyright 1945 by Frederick Kugel Company. All rightsreserved. Editorial content may not be reproduced in any form without permission.

AbeR00-7717 RELAYTelevision's first MICROWAVE link

GENERAL ELECTRIC'S Micro -Tel relay-first 2000 -mega-

cycle radio relay in history-heraldsa new era in network operationthat will bring television and FMto more people at less cost. This simple relay, which elimi-nates connecting wire lines andcostly right-of-ways, consists of alow -power microwave FM trans-mitter, a microwave FM receiver,and a highly directional transmittingand receiving antenna system whichgives each watt of transmitter powerthe effectiveness of approximately onemillion watts. The system is simple,economical and provides unat-tended operation.

Today, General Electric is testinga Micro -Tel link between the studioand transmitter of its great televi-sion station WRGB in Schenectady-a distance of 121/2 airline miles.

Soon, the world's first televisionmicrowave relay - equipped byG. E. and operated by the Interna-tional Business Machines Corp. -will be added. This relay will ex-tend to New York, Philadelphia,Baltimore, and Washington. Addi-tional links will follow ... for tele-vision programs, full fidelity chan-nels for network broadcasting,facsimile channels, and multiplebusiness machine channels - si-multaneously in both directions. Further expansion of this net-work and the establishment of

others will bring television, broad-casting, and business machine ser-vices to smaller communities.

Whether your requirements arefor Micro -Tel relays, complete tele-vision broadcast stations, or I ntra-Tel systems, look to General Elec-tric for your equipment. Plan nowto visit Schenectady to study G -Ebroadcast facilities. Wednesdaysand Fridays are "open house" days.Write for the folder "How to GetTo Schenectady," or ask your G -Ebroadcast equipment representa-tive to help you plan your visit.Electronics Dept., General ElectricCompany, Schenectady 5, N. Y.

Authentic Guide to Television ProgrammingWrite for the new book "Television Show Business," by Judy Dupuy. Publishedby General Electric. $2.50 per copy. Address: Electronics Department, GeneralElectric Company, Schenectady 5, N. Y.

Receiving antenna and receiver for G 1 fiesttiesaporimental Micro -bid link in Schnoctody. Noteextreme simplicity of installation. The horn typeantenna is only 2 feet in diameter.

For earliest possible delivery of your broadcast equipment, place your order now.

STUDIO A* ST

GENERAL

TRANSMITTERS

ELECTRIC

The G -E microwave television link. With theMicro -Tel relay, G.E. contributes another majordevelopment in television and broadcasting.

This proposed 150 -foot relaytower accommodates up to sixmicrowave transmitters andreceivers that are capable ofrelaying television and high-fidelity radio programs, fac-simile pictures and businessmachine messages.

Micro -Tel link transmitter and antenna with highly directional reflec-tor Weis mast at WRGS. This ss stem kis es each transmitted Hatt oloutput the effectiv eness of approximately 1,000 watts.

G -E Lighthouse tubes make television microwave relaying possible. For maximum station dependability and performance, use G -E electronic tubes.

AM TELEVISION FM G5fr aig

A NEW AND DIFFERENT

SWEEP GENERATORNeeded in

TELEVISION, FM, RADAR, HIGH FREQUENCIES.1 Volt, Max., 500 Kc to 110 Mcs;100 Ohms, 10 Mc. Sweep Width

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$395.00 APPROXIMATE PRICE

For your work in television, FM, radar, high fre-quencies, etc., you will need one of these newlydeveloped electronic frequency modulated sig-nal generators covering a continuous rangebetween 500 Kc and 110 Mc. Designed primarilyfor use for field, laboratory, or production align-ment of wide band r.f., i.f., or video amplifiersused in radar, direction finders, television, orother wide -band systems.

Sweep range is adjustable from 10 Mc. downto 5,000 cycles at any frequency within theabove range for alignment of narrow -band re-ceivers or amplifiers. Self-contained power sup-ply. Input 110 V., 50-60 cycles. A.C. 60 watts. Twointernal "markers" are pro-vided, one at intervals of 10Mc., the other at intervals of1 Mc. for band -width measure-ment. The amplitude of thesemarkers is adjustable from the

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LIGHTOnly 16 lbs.

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HIGH VOLTAGE RF POWER SUPPLIES( 10 KV, 24 KV, or 30 KV) for 7, 10, 12, or 14 inchdirect -viewing Kinescopes and for projection setsICONOSCOPE YOKESCATHODE RAY RECEIVING TUBE YOKESDEFLECTION TRANSFORMERS

Write for preliminary technical data. A limitednumber of orders placed now for the Sweep Gen-erator can be filled immediately.

panel. The main dial is marked inmegacycles/sec. and when set at anyfrequency the sweep is plus and minus5 Mc. from this setting.

An attenuator is providedwhich reduces the output sig-nal of .1 V. to about 30 micro-volts, which is well below thegain control region of most re-ceiver or amplifier systems.

UNITED STATES TELEVISION MFG. CORP.106 Seventh Avenue New York 11, N. Y. CHelsea 2-1154

RADIO TELEVISION ELECTRONIC PRODUCTS

BOSTON

NEW YORK

WASHINGTON

NETWORK FOR TELEVISION

Coaxial Cable Link in Initial Tests

Bell System coaxial cable carried televisionof the Army -Navy football game fromPhiladelphia to New York on December 1.This was an experimental preview of longdistance television by cable.

Beginning in January, coaxial cablebetween Washington and New York willbe regularly scheduled for experimentaltelevision use.

Each coaxial tube, with present amplify-ing and terminal equipment, can transmit

a television signal, or 480 simultaneoustelephone messages. For several years theBell System has been using coaxial cable tocarry telephone conversations over certainintercity routes. Within the next few yearsupwards of 7000 miles of coaxial cable willbe constructed.

The Bell System is installing a networkof facilities suitable for television which willultimately span the country from coast tocoast and from north to south.

BELL TELEPHONE SYSTEM

Union Picture InUnions are starting to move. Here's a summary of

this important phase of television and a list of most

of the. unions who will have some jurisdiction in the

video field. 1946 will see increasing activity.

By MARY GANNON

IN any true evaluation of the forthcoming union picturein television there must be a realization of its com-

posite nature. For while television has come to be re-garded as a new medium, requiring special techniques,nevertheless certain of the elements of stage, screen andradio are incorporated in its basic structure.

In each of these older. established fields. unions arestrongly entrenched. And the promise that television%%mild provide a new and extremely large source forposti%ar employment is borne out when you see it as asingle industry which combines practically every jobin the three main entertainment sources, along withmany new ones of its own.

With this combination conies an inevitable overlappingof union jurisdiction and a fear that jurisdictional dis-putes are liable to cloud the early years of television,until such time as unions settle this problem amongthemselves.

Job classifications are almost endless, but here are thehigh spots. On the talent side alone, there are actors,actresses. announcers, singers, dancers, musicians. Onthe studio floor, there are stage employees, studio soundtechnicians, costumers, set electricians, grips, propertycraftsmen, studio laborers and utility workers, studiomechanics, make-up artists, cameramen, motion picturemachine operators.

In the control room, there are the video and audiotechnicians. Then you have the scenic artists, arrangersof music, orchestra librarians, copyists, conductors: filmeditors, librarians; cartoonists and animators; directors.producers, script writers; motion picture cameramen.projectionists and photographers.

Big question mark facing the industry is how separateunion jurisdiction in radio, film and stage will mergeinto the composite of television. Will these older unionsjockey for position in the new field? Will new unionsbe set up for television? How many unions will manage-ment have to bargain with in one station?

These are but a few of the problems which will un-doubtedly come to the fore and press for a solution asexisting stations start programming on expanded sched-ules and as new ones begin operating on a commercialbasis.

Union AttitudeOn the whole, unions have been keeping a watchful

eye on television, is ith many committees set up to studythe problems. So far, most unions and their membershave been willing to play along and not hamper tele-vision's growth with burdensome restrictions. It is hard

6 Television

Television Fieldto be specific at this point in the labor-managementsituation, for few definite policies have been formulated.But here is the trend of thinking of some of the moreimportant unions, as the industry stands on the thresholdof a tremendous expansion.

Associated Actors and Artistes of America (AFL)- This is the parent body of which American Federationof Radio Artists, Actors' Equity and Screen Actors'Guild are members. Several years ago a committeewas set up to examine television but with the advent ofwar and the resultant stoppage in tele activity, the com-mittee was dropped.

Right now, AFRA is marking time, permitting theirmembers (announcers, actors, singers), to work on tele-vision programs without any set regulations as to wagesand hours. The same is true of Equity. While both unionswill undoubtedly feel that they have equal rights to tele-vision, any dispute which may arise will very likely besettled within the 4As and not dragged into a jurisdiction.al fight.

American Communications Association - Broad-cast Division (CIO), are the bargaining agents in aboutfifty radio stations along the east coast. Their jurisdictioncovers radio technicians, engineers, announcers, and inmany cases, they represent the sales and office staffs.Although they are mainly interested in the technical sideof television, their plans embody the complete organiza-tion of an entire television station, covering everyonebut the actors and the musicians. Right now they arearranging a series of technical lectures on television inorder to acquaint their members with the medium, as theyfeel FCC regulations might require a different operator'slicense for television.

First television contract has already been signed withWABF in New York, (Metropolitan Television). Contract,which will be in effect until September, 1946, covers en-gineers, technicians, announcers, script writers and tech-nical supervisors. Starting salaries for new employeesare as follows: Engineers and technicians start at $42.50per week with an increase of $2.50 every six months.Announcers and script writers start at $37.50, with anincrease of $2.50 every six months. Technical supervisorsare to get a minimum of $5.00 per week more than thehighest paid member on the technical staff. Work week isthe usual 40 -hour schedule.

American Federation of Musicians (AFL)membership includes instrument performers, copyists,arrangers of nusic, orchestra librarians, grand opera,symphony and band conductors in every medium. ThePetrillo strangle -hold has reached out to television, with anarbitrary announcement barring musicians from appear-ing. Consequently, on stations with union affiliations.recordings are used for musical sequences - with thecustomary royalties paid to the AFM.

American Society of Composers, Authors andPublishers (ASCAP) acts on behalf of copyrightowners in securing their performing rights from com-mercial users of music. Having obtained the televisionrights from their membership, the society has held anumber of meetings to discuss regulations for televisionbut no definite policy has been formed as yet. Under the

December 7

present working agreement, ASCAP has given telestations free experimental rights, cancellable within thirtydays.

International Alliance of Theatrical Stage Em-ployees (IATSE) includes stage employees, movingpicture machine operators, cameramen, laboratorytechnicians, studio sound technicians, studio projection-ist, costumers, set electricians, grips, property craftsmen,studio laborers and utility workers, studio mechanics, andmake-up artists for both stage and screen. However intelevision, IATSE has already made the first major movein extending their coverage. In a contract signed withDuMont, Station WABD, New York, the job classifica-tions, besides the regular stage employee coverage, in-cluded the following: Supervising engineer; productionassistant; studio manager; transmitter engineer; soundboom operator; camera operator; equipment and main-tenance technician; projectionist; M. P. video controloperator; audio operator; master audio operator; videocontrol operator; master video contrcl operator andstudio assistant.

DuMont, being a new television station and not anappendage to an operating radio network. had no previousunion affiliations covering their technicians. However inthe case of NABET representation at WNBT (NBC) andIBEW at WCBW (CBS), IATSE control there is limitedto the stage hands, carpenters. prop men. etc.

International Brotherhood of Electrical Workers(IBEW - AFL) covers inside and outside electricalworkers, with particular emphasis, so far as their radioactivity is concerned, on voice, sound, vision, transmissionand transference electrical workers. At WCBW theirjurisdiction extends to panel operators, cameraman.boom mike and technical maintenance men.

Motion Picture Film Editors (Local 771 -IATSE) includes film editors, assistant film editors, filmlibrarians and assistants, and specialists who work onsound effects, music and foreign language dialogue. Ina statement prepared especially for TELEVISION, JackBush, vice-president of the local, stated:

"Just as radio producers now maintain a library ofsound on discs, it is apparent that television companieswill keep a library of film stock shots. The acceptedwork -week is the five-day, forty -hour week. The averagewage paid ranges between $105 and $140 for film editors.Assistants under existing contracts start at $52.50. Thefilm librarian's rate of pay ranges between $65 and $80.Where assistants are employed, their salaries begin at $40per week. It is a foregone conclusion that the level ofskill required of the telefilm editor will he expected to beat least the same if not more than that of the motionpicture film editor cutting a theatrical or commercialpicture. Television, in order to equal theatrical standards,must attract the skilled technician by offering him con-ditions and wages not lower than what is now acceptedin the motion picture industry."

Screen Cartoonists (AFL) have not drawn up anycontracts in television yet but do claim jurisdiction overall persons using the medium of animation or drawingin television. Future plans call for setting up comparablerates to these received in the animation industry, withprovision for higher rates where people are subjectto call.

United Scenic Artists of America, while recogniz-ing tele as a new industry, believe it is part of stage andscreen and that stations will want trained men. with aknowledge of proper lighting and color, combined witha sense of what makes settings photogenic. Union mem-bers are willing to go along with the stations in thisexperimental stage and although networks are pavingunion scales as a general rule, certain working conditionshave been waived. Regular contract generally sets certainstarting and stopping times - a 7 -hour day starting notlater than 9 o'clock. However, in television they are al-lo%ed to start any time of day they wish and may work8 hours before double time starts. While not connectedwith IA officially, there is a strong working tie betweenthe two unions and the members won't work with non-union stage hands.

(Continued on page 221

Here's just a part of thegroup needed to put ona television show. Photowas taken at WNBT.

8 Television

Television Outlook in Cleveland By GILBERT WINFIELD

Roe Bea

Sorb. HI

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lestIon ,ond

Sixth in a series of articles matching the number of appli-cants for stations against the number of channels available.

ELE V 572 FEET

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Wavy lines indicate the coverage in the Cleveland area which can be given by a 25 kw sta-tion, with an antenna height of 650 feet, using two Ray Cross folded dipole antenna.Dotted lines indicate the trading area. (Contour map, courtesy of Allen B. DuMont Labs).

TELEVISION station applicants in Cleveland arebreathing a bit easier since the FCC released their

new allocation plan. Former FCC proposal would haveleft three applicants on the doorstep pounding away andtrying to get in. As is, the score is six applicants for thefive channels assigned to Cleveland and the pruningprocess will be much less painful.

An analysis of applications usually shows out of agroup of applicants one or two who probably will not gothrough with their television plans. That's true in a greatnumber of cities throughout the United States. But it willbe hard to pick out a scratched applicant from the list ofpowerful interests who have filed intention of building astation in Cleveland.

Every applicant is an operator of either a large AMstation or network or, as in the case of DuMont, an opera-tor of a television station.

CastC stIda

The number of applications in Cleveland, Akron, Co-lumbus and Cincinnati will give Ohio one of the besttelevision coverages of any state in the Union. And nowonder - it's one of the richest marketing areas in thecountry.

Cleveland is the center of the vast rubber and steelmanufacturing which during the war boomed to astrono-mic population proportions, and even after the war showsno signs of dwindling away. Cleveland is close enough toAkron to have an overlapping retail trading area. Mostof its retail trade comes from Cayahoga County and partsof adjoining counties - perhaps a million and a halfpersons.

The National Broadcasting Company, operator of sta-tion WTAM, the WGAR Broadcasting Company, owner -operator of that station and a CBS affiliate; UnitedBroadcasting Company, owner -operator of WHK, a Mu -

December 9

tual affiliate, WJW, Inc., owner -operators, and an Ameri-can Broadcasting Company station are all well establishedin the Cleveland area.

The two other commercial applicants, are Scripps -Howard Radio, Inc., and DuMont.

Television Productions, the Paramount subsidiary,has evinced no intention of operating a commercial sta-tion in Cleveland but have been conducting experiments

ith a mobile -relay unit in the Cleveland Area.

Allan B. DuMont Laboratories. Inc.Address -515 Madison Ave., New York CityOfficers - Allen DuMont, President; Paul Raibourn,

Treasurer; Leonard Cramer, Vice -PresidentOwnership-Allen DuMont Laboratories, Inc.Total Equipment Costs-$280,000Operation Costs per month-$20,000Cost estimate by-DuMontChannel #2Kilocycles -54-60ESR-7084Hrs. per wk. of operation -28Antenna

Height, sea level -1969Height, ground level -769

Transmitter location-Walling Corners. ClevelandPower, aural and visual-aur-12.5 kw - vis-25 kwPopulation -2,251,000Size of area -0.5 m/v 6,889 - 5 m/v 1512Location of Studio-Not determinedEngineering Consultant-StaffLawyers-Roberts McInnis

National Broadcasting CompanyAddress -60 Broad Street. New York, N. Y.Channel-#4Kilocycles -66-72 mcsESR-8120Transmitter location -815 Superior Avenue, Cleveland,

OhioPower, aural and visual-aural-3kwLocation of Studio -815 Superior Avenue, Cleveland,

OhioEngineering Consultant-NBC Engineering DepartmentLawyers-NBC Legal Department

Scripps -Howard Radio. Inc.Address -1121 union Central Building. Cleveland. OhioOfficers-Roy W. Howard, President; W. W. Watkins,

Chairman of Board; John G. Meilink, Vice -President;Jack R. Howard, Vice -President

Ownership-(Scripps-Howard Newspapers) Trustees ofScripps estate own largest block of stock - 38.7%

Total Costs-$175,000Operation Costs per month-$20.000Financing-Existing CapitalCost estimate by-Ring and Clark, consulting engineersChannel #2Kilocycles -60,000.66,000 kcs.ESR-1720Hrs. per wk. of operation -4Transmitter location - 11/2 mile out of Warrensville

Heights on Richard Road, Warrensville, OhioPower, aural and visual--au-3kw, vis-4kwLocation of Studio-ClevelandEngineering Consultant-A. D. RingLawyers-Segal, Smith and Hennessey

Miscel.:-Controlling stock -holder in Memphis Publish-ing Company, licensee of WMC, Memphis - in Mem-phis Broadcasting, licensee of WMPS Memphis; alsooperated WNOX. Knoxville. and WCPO, Cincinnati.

United Broadcasting CompanyAddress -418 Plain Dealer Building, ClevelandOfficers-Sterling E. Graham, President; H. K. Carpen-

ter, Executive Vice President; Paul Bellamy, K. K.Hackathorn and C. M. Everson. Vice Presidents; C. C.McConkie, Secretary; G. S. Holden, Treasurer; EdnaB. Moreland and Otha Fisher, Assistant Treasurers.

CostsI. Vis. transmitter $150.0002. Aural transmitter plus tubes (included above

16.0(X)40,60015,000

2.700

3. Antenna System4. Studio Equipment5. Studio Lighting6. F & M Monitors7. Land

8. Building9. Other item. motion pi:ture equipment 48,000

Total Costs $272,700Operation Costs per month $10.000Cost estimate by G -EChannel #2Kilocycles -60,600-66.000ESR-9600Hrs. per wk. of operation -6Antenna

Height, sea level -1401 ft.Height, ground level -744 ft.Location -52 story office building

Transmitter location-Terminal Tower Building. Cleve-land

Power, aural and visual-aur-20kw, vis-40kwLocation of Studio -1311 Terminal Tower. ClevelandEngineering Consultants-R. H. DeLaney, H. K. Carpen-

ter, United BroadcastingLawyers-Baker, Hostetler & Patterson, Cleveland;

Loucks & Scharfeld, Washington, D. C.Miscel.:-United operates WHD, WHKC and WHKK and

has conducted experimental work in FM on W8XNTand experimental facsimile transmission on bothW8XNT and WHK - also applicants for tele stationat Columbus, Ohio, and FM station at Akron.

WGAR Broadcasting CompanyAddress 12th Street and Euclid Avenue (Hotel Statler)Officers-President, G. A. Richards; Vice -President. Leo

Fitzpatrick; Secretary -Treasurer, P. M. Thomas; Sec-ond Vice -President, John F. Patt; Directors.

Ownership -9 stockholders. including officersTotal Equipment Costs-$250,000Operation Costs for month-$25,000Financing-Existing CapitalCost estimate by-Based on information from existing

tele licensesChannel #3Kilocycles -66,000 to 72.000Hrs. per wk. of operation -5Transmitter location-Broadview and Akin Roads, Broad -

View Heights Village, OhioLocation of Studio -12th Street and Euclid Avenue, Hotel

(Continued on page 47)

10 Television

Color is as much a part of football as the plays themselves. Here WNBT's mobile cameras pick upthe West Point cadets Re they file into the stands after pre -game ceremonies at Army -Navy classic.

STATIoN opERATIoN. Setting Up A

. Special Events DepartmentCortinJing our series on "Sation Operations'', this articl:is presented as a guide for the preliminary steps which canand should be taken now before operations get underway.The author is manager of the film department, New Englanddist-ict, Paramount Pictures.

By JAMES L. CADDIGAN

THE concentration of production experimentation ina few key centers has led to the belief that little

could be accomplished in the way of preparation insmaller cities until the technical tools were available foractual. on -the -air operation. The fact that the local tele-vision station, of the immediate future, will be on itsown for same time to come places the responsibility ofpreparing the vast amount of non -technical ground workand information, necessary to successful operation.squarely upon the shoulders of each local staff. Program-

ming, without the a,,1,tance of future nctssork shows, be-comes definitely a local problem, and it is generallyacknowledged that the economic restrictions of indi-vidual station operation will not permit the productionof live shows in any great numbers on the grand scale.This economic control indicates the programming ofmany less expensive "Special Events" local productions.Radio and pre-war newsreels, familiar with this type oflocal coverage, realize the great amount of preparatiorand information that is necessary to insure successfulproduction of this type of show. Television, the threecornered wedding of radio, the theatre, and motion pictures, will require pre -broadcast preparation and research far beyond that required to achieve successfulproduction in any of the allied mediums in the past.

In many situations competition between televisionstations will be keen, and the "scoop" angle in a produc-

December 11

tion will run high in importance. Many of the so-calledspecial event productions give little warning of theircoming, and should a television production staff waituntil an incident or story is looming over the productionhorizon, before moving toward preparation, the storywill be either poorly produced or lost entirely. Prepara-tion for the unexpected seems like a large order to fill,yet, that is exactly the job that must be handled if thespecial event or news incident is to be produced withthe "immediacy" that television promises. The televisionaudience of the future is being educated at the presenttime to expect sight of an incident "as it happens.- I

view of the vast job of preparation that lies ahead, thepresent is none too soon to borrow a page from thebook of the military and start the compilation of a Tele-vision Intelligence File.

Notification ContactsField notification contacts, providing notification of an

incident to station executives with the minimum loss oftime, should receive first consideration in the organiza-tion of a television intelligence set-up. A television spe-cial events staff cannot wait until an incident has pro-gressed to the point where the wire services have trans-mitted a story to their subscribers. Notification contactsin the field must be of a type that will provide reliablenotification on a twenty-four hour basis. Multiple tele-phone contacts between the field and station executivesshould be provided and listed in order that two waycontact may be maintained if the original lines calledare out -of -order or traffic jammed. In many commu-nities the Police and Fire Department headquarters staffwill cooperate in this matter of notification and suchcontact will provide an authority capable of keeping analert finger on the local pulse twenty-four hours a day.

Radio and television dealers' organizations present an-other source of contact possibilities, capable of providingresponsible individuals in each community familiar with

Baseball is televisedfrom the Polo Groundsto WNBT's viewers.

the local terrain, conditions and services that might beneeded in the local production of a television specialevents production. A working contact should be estab-lished with the local headquarters of the Army, Navyand Coast Guard. Station personnel operating in thefield should exert every effort to develop and maintainthese important contacts in an active status. Contacts ofthis type spread out through the field will provide thestation maintaining such a set-up with many "scoops"and "exclusive" productions.

Topographic Data

The swift and positive arrival of station personnel andequipment at the scene of an incident will demand moreknowledge of an area than can be retained in any indi-vidual's mind. Complete and up-to-date maps of the areashould be an important part of the television intelligencefile. These maps should show all roads and should in-dicate alternate routes to be used if the usual and mostdirect route is closed or traffic jammed. Continuous con-tact should be maintained with the office of the StateDepartment of Public Works in order that intelligenceregarding road conditions, detours, bridges, etc. maybe on hand at the time of an incident as insurance againstloss of story due to delay on route. This informationshould be entered on the maps in a manner that willpermit corrections to be made as they are received. Amaster set of maps should be retained in the file anda working set of maps should be available, in suitablecontainers, for the use of the crew in the field. The mapsshould be scaled so that the production staff planningbroadcast periods can approximate the amount of timethat will be consumed in travel. A complete set of topo-graphic maps of the entire area should prove invaluableto the production staff. A topographic survey wouldquickly indicate the feasability of using relay trans-mitters and would provide the film coverage crew withthe locations of possible elevation positions should the

12 Television

immediate area of an incident be in a condition thatprevented intimate coverage.

Corrected railroad and bus schedules should be in-cluded in the file, as well as the schedules of airlines.At the time of a major incident it may be possible toarrange transportation into an area through the useof such utilities when regular highway travel has beendisrupted or restricted. A telephone contact, other thanthe public information number listed, should be arrangedwith all major transportation systems in a station's zoneof operation. In locations along the seacoast and on lakefronts, a listing should be maintained indicating twenty-four hour contact with boat liveries should the use ofwater craft become necessary.

Weather ReportsWeather conditions will present a controlling factor to

be considered when producing remote television pick-ups.and because of this a working contact should be estab-lished with the nearest United States or recognizedWeather Bureau. The complexion and locale of a storycan change many times in a short period of time becauseof changes in weather for storm conditions. During theNew England hurricane five changes in the storm's di-rection and intensity occured in an hour's time, makingit necessary to re-route personnel from originally assignedlocations to the newly developed center of the story.

Natural light conditions will present another impor-tant consideration in the planning of outdoor, remotetelevision pick-ups, and advance knowledge of the pos-sibility of failing light due to predicted weather changeswill provide the production staff with the time necessaryfor the preparation of an alternate "protection" showshould the original outdoor production be washed out.At the time of a major incident, communication trafficwith an agency such as the weather bureau can be veryheavy. and it is advisable to establish prior contact andattempt to secure an alternate telephone contact that canbe used when the normal channel is in use.

WNBT tele-viewers get alook at the presidentialparty arriving at theArmy -Navy game.

Correct CredentialsThe lack of proper identification credentials in the

hands of field personnel has been responsible for the lossof more than one story in the past, and because of thisthe television intelligence file should include a list of au-thorities issuing such credentials and passes, and thechannels that may be used to reach such individuals. Allmembers of the staff should be provided with whateveridentification passes are available in the file so that parttime employees might use them in an emergency. Legalemergency vehicle identification plates should also bearranged for and kept ready for use as needed.

Temporary wiring and portable construction will benecessary on many remote television productions. Inmany municipalities special permits are required for theinstallation of such wiring, and the erection of such port-able construction. Many municipal governments insiston the inspection of such installations before they areused. The file should list twenty-four hour contacts withthe authorities issuing such permits and with the inspec-tors clearing their use. When possible, blank applicationsfor such permits should be available in the intelligencefile, and if a licensed electrician is a part of the fieldcrew an attempt should be made to obtain a blanketpermit for such installations. A copy of all building andelectrical regulations in effect in the area should also beincluded in this section of the file.

At the time of an incident, intelligence from the fieldwill be most important to the production staff workingon the script at the station, as the incident progresses.All sources of information and channels of communica-tion that might be used in an emergency should be listed.These various channels, capable of providing reliableinformation, are many and would include such units aspolice radio and teletype networks, commercial teletypechannels. telephone lines from field contacts, news wireservices, etc. When possible, advance contact should bemade with these sources of intelligence and a techniqueof pick-up should be arranged that will not interfere

December 13

with the operations of the agency providing the desiredinformation. A complete set of telephone and teletypedirectories, covering the area involved, should also bea part of this intelligence file.

Compilation of a television intelligence file will be anever ending job as each new production will provideadded information that can be used to advantage onsome future show. It is suggested that a special intelli-gence report be submitted on each remote pick-up pro-duced, and that the information entered in the report beset up in the file for future reference. Repeat broadcastsfrom the same location can be handled with greaterspeed and surety by merely referring to the informationobtained on the original production.

The items of intelligence mentioned above are but afew of the many informative facts that should be in-cluded in such an information center. The file shouldinclude complete information on all sources of personneland material procurement, local laws and regulationspertaining to all phases of station operation, and all theanswers to the many production problems that will occuras television progresses through its growing -up era. Stateand municipal officials that might be needed for pro-gram arrangement should be listed with the contactinformation indicating the channels used to reach them.

In the opinion of the writer, serious consideration ofthe magnitude of the job to be done in preparation foractual television production will amplify the prior state-ment: "The present is none too soon to start the compila-tion of a Television Intelligence File."

Camera ShootingTelevision news stories that are to be shot on motion

picture film should be made with a silent motion picturecamera. The sound can be added in the studio at the

Esquire's All American baseball game was filmed by ABCand edited into a half-hour show over WRGB and WABD.

time of broadcast by using sound effects, music and thecommentary of a live announcer. If desired, a sound discor transcription can be made and synchronized to thefilm story after it has been cut and edited. This techniquedoes not apply to the interview type of story that must beshot with live sound. However this type of news storywill probably be shot with a television camera direct.The use of the silent motion picture camera will permitmuch more flexibility of operation and scope of cover-age than if the sound motion picture camera, with itsassociated recorder, amplifier and power supplies, wasused.

As a time saving technique, it is suggested that alltelevision and film -television camera crews be equippedwith a still camera whose film, shutter and lens speed iscalibrated to match that of the motion picture cameraand raw stock being used or the sensitivity of the tele-vision pick-up element or mosaic. This camera wouldbe used to take a "lighting check" shot of the scene orarea to be photographed or televised. A small, daylightloading developing tank could be carried as part of theequipment, and in the matter of a minute or two, anegative would be ready for a "reading." This wouldpermit the cameraman to know exactly what the lightconditions, on all parts of the scene or area, presented.Such a technique would prevent the loss of a story orpick-up because of inadequate lighting that might appearsufficient to the cameraman's eye.

Another suggestion is that all television cameramencarry a "log," made up in loose leaf form and arrangedalphabetically, which would contain all lighting and set-up data on each pick-up made away from the mainstudio's location. This log would eliminate delays andfailures when repeating a broadcast from a location thathad been used before. All the information necessary to asuccessful repeat broadcast would be available in thelog, and any unusual situation or condition, peculiarto the location, would be known before the crew leftthe station to cover the pick-up.

Apart from lighting information, the log should con-tain the location of the power supply, camera location,or the necessity to build a camera location if such wasthe case, voltage and amperage at the power mains, andany important line losses or voltage fluctuations commonto the location, location of audio broadcast land lines,location of relay transmitter and antenna, location offeeder circuits to the relay transmitter and its associatedequipment, the names and location of officials and tech-nicians associated with the property that will be con-tacted to make arrangements, the location of doors andentrances available for the moving of equipment, and anyother information necessary to the set-up and presenta-tion of a successful television broadcast at the locationlisted. As soon as a new location is entered in anycamera crew's log, typed copies of the complete indi-vidual report could be made available for inclusion inthe logs of all other camera crews that might be assignedthe location.

To repeat, the public is being given the promisenow of "seeing things as they happen." It is their mostenthusiastic expectation of the immediacy of televisionthat will present a challenge to every station to presentthe "scoop" news in as speedy and complete manner aspossible. It's only by laying a firm foundation now,that this service can be given.

14 Television

Telecasting a

Football GameHere are some high spots which will interest everyprogrammer who has his eye on the sports picture.

By BOB STANTON

NBC sports announcer, who has pioneered in develop-ing television sports techniques over WNBT andWPTZ, and who has just completed his second yearas telecaster for the Penn games over WPTZ, (Philco).

1IN telecasting a football game you share a scene with

the viewers. In broadcasting you paint a dramatic wordpicture so that your listeners can easily imagine what'staking place in the stadium. But you not only havelisteners over television-you have viewers. They're look-ing at what's happening the same as you-and the maintrick is to talk about what they're seeing, as they're see-ing it. So for a television announcer, the two cardinalrules are:Never let a scene go by without commenting on it.Never give your viewers time to wonder, "What isthat?"

Remember they're right there with you and your bestapproach toward telecasting a football game, or anyother sport, is to talk as you would to the fellow next toyou. This change in technique is two -fold. First, reflect itin the tone of your voice. Keep it conversational untilthe going gets hot, then raise and lower it with the nor-mal excitement that grips any viewer of a football game.For that's the natural reaction-and just the thing youwould do, if you were talking to the fellow next to you.

But the second change comes in the actual patter and alot of good radio tricks have to be unlearned for theymake bad television. Avoid such obvious statements as"They're coming out on the field", "Now they're in ahuddle". Use a commentating technique here, toned downto the friendly intimacy that characterizes television as amedium. But don't go overboard and make the mistakeof thinking that the home viewers understand everythingthey see. There are a lot of people who don't know thetechnicalities of the game and here's your chance toacquaint the public with the rules. When the telephotolens moves in and picks up the toss of the coin at thebeginning of the game, that's my cue to tell the viewerswhat the ref's signals mean, translated into which teamwon the toss and what they elect to do. And this patterncan be followed all through the game, with comments onthe signals, on the penalties, an explanation of a safety,etc. Through television, football enthusiasts can see many

things they may miss at a stadium. It's part of the teletechnique to point out these features so that they mayrecognize the fine points of the game.

When we first started telecasting the games, we weren'tsure whether people wanted a play-by-play description orjust an occasional commentary. Best way to find out wasby asking them, and the resultant poll showed 95%wanted the play-by-play description. So you see therehas to be a careful integration of the commentator andannouncer techniques, omitting the obvious, stressing theessentials and above all-and this bears repeating-talk-ing about what they're seeing as they're seeing it!

It's this coordination of sight with sound that makestelecasting a lot harder than broadcasting. A three -eyedman would be in his prime as you have to keep one eyeon the field, one on the monitor and the third on theplayer chart. Much more has to be committed to mem-ory-such as the name and number of the players, dopeon the teams, etc. (Trying to cultivate a third eye is badenough-but a fourth to read a script would be toomuch!)

Usual Set-upNow for something of the set-up. In the Penn games,

televised over WPTZ, Philadelphia, three cameras areused. One is equipped with telephoto lens for the close-upshots, such as the start of the ball in motion. Anothercamera is ready for a wide angle shot when the play getsunderway, so as to pick up the whole 22 men in action;with the third standing by to catch a distance shot, suchas a player going back to punt or a shot at the clock.

December 15

During the first season I wore headphones during thegames, thus hearing the directions of the producer -direc-tor, the cameramen, etc. But at critical points of thegame, it was too confusing-to put it mildly, to be hear-ing one thing, and, trying to talk about something else.From the trial and error system, we've devised two newmethods this year.

First, I anticipate for the benefit of the cameramen andproducer -director what will probably happen during theplay and they follow my lead, instead of me followingtheir lead.

Second, a spotter now sits next to me with headphoneson and relays any messages from the control room. It's agive and take proposition, as they trade information backand forth, particularly on the human interest featureswhich may break out on the field or in the stands beforethe game, during time out, at the half, etc. Anotherspotter takes care of the player chart, spots the substi-tutes, etc. As for the 3 of us, we've developed a signlanguage all our own for exchanging signals during thetelecast.

The next important phase in co-ordinating a sportstelecast is a viewing monitor for the announcer.

Mine is built in the desk and shielded from any lightglare. I see exactly the same as the viewer. It's a constantcheck between the field and the monitor, as your wordsmust he in step with the picture your viewers are seeing.But it's just as important that you watch the field so youknow what's going to happen next; can anticipate itand he ready for it a, the cameras pick it up.

Preparation of MaterialEvery man to his own system, but for quick, easy

reference I prepare a chart on each team to cover allthe vital information on three complete squads. At thebeginning of the season, I write to the Athletic Associa-tions of each college whose games are on the scheduleand get complete information on the players. Then theweek before, all this information is boiled down - amatter of 2 or 3 hours work. Into a block about 1"xl1/4",

Second quarter of the Army -Navy game, with Bob at themike giving WNBT tele-viewers a play-by-play description.

goes the player's full name, number, age, height, weight.all in symbols that are easy to catch at a glance. What%%ith those three eyes you have to have, there's no timeto erase or write in, so a thumb -tack is stuck in overthe man in action. It's a simple matter for any changesin the line up just to move a thumb -tack. From thecollege press releases, background material on the col-leges, coaches, records. statistics, etc., is obtained andboiled down for penciling in on the bottom of the chart.Thus all the material is simplified and in one place,eliminating the need for bulky scripts.

Human InterestHuman interest is a major part of a football game

and the television cameras can rove around and pick itall up, transmitting the contagious excitement of thestadium goers to the comfortable and cozy home viewers.There are the crowds in the stadium. the bands. the anti'sof the cheer leaders. the teams coming out on the field,the warm-up. the excitement on the players' bench. themascot uhowon't behave, the parades at the half. Noneed for a television announcer to run to statistics tofill in the gap. You have the best kind of human interestmaterial right there before you. And it's a sure bet.that you'll have a star performer in the inebriated alum-nus who's staging a free show; in the grandstand quarter-backs who eventually get to the point where they're willingto trade punches as well as advice. Ten to one, a dogwill run out on the field and some big burly full -hack.

ho's knocked his way through solid walls of humanitywithout one trace of brotherly love, will bend downand gently pat him!

Specifically, there are certain human interest shots topoint for. Crowd sympathy is usually with a player as hecomes out of the game. Have the camera follow him fromthe time he starts his trek off the field, usually dead tiredand sometimes discouraged. Get the coach coming outto meet him, the other players throwing a jacket aroundhim, the back slapping. the attempts to cheer him up.

Avoid dull spots. During the huddles, there's not muchinterest in just watching the group. Swing the camera tothe clock, for just a moment, to show the time left. Aftera touchdown, pick up the crowd reaction from the wildlycheering side, backing the winners to the losing side,who are often pretty glum.

Summing It UpTelecasting a football game has one thing in common

with other forms of video. The technique is learnedthrough trial and error, and experience. But once youget the trick it's much more interesting than doing itby radio - for it seems more informal. more interesting.and you get the added kick of being seen as well asheard by your audience. The Penn games over WPTZopens with camera on me saying "Hello". It comeshack between halves for a few minutes, returning againafter the game for the re -cap and "Good-bye".

So summing it up, from my own trials and errors, ex-perience and practice, I'd say - adopt a friendly "I'mtalking to the fellow next to me" technique; punctuateit with a play-by-play description as the game getsunderway.

Don't let the viewers miss any part of the game; selectthe best shots from the stadium scene.

Give them a football telecast which combines gameexcitement with human interest.

16 Television

Long Shots and Close UpsA Regular Feature on Films by H. G. CHRISTENSEN

Advertising Agencies and Motion Picture Departments

As a news commentator wouldsay - "And now for a brief

-ununary of last month's article.We tried to point out what the

determining factors should be as towhether or not an agency shouldstart a motion picture department;the type of personnel needed and theirqualifications; what service can berendered to the client and the pro-ducer; and some of the problemscommon to motion pictures, not en-countered in other media.

Probably the question uppermostin the agency man's mind is "CANAN AGENCY MAKE A PROFITSERVICING MOTION PICTUREACCOUNTS AT 15% ?"

Considering the well establishedfact that advertising agencies are notin business for their health, whichgoes for any business, includingmovie producers - Brother, that'snot the $64.00 question, it's the jack-pot question. So, here we go for thejack -pot.

A quick answer would be - Yes.IF pictures were sold like full pagesin Collier's or any other magazine-15% commission on space, and an-other 15% on production. But there'sno space in the picture. It's all pro-duction. Can you handle a picture,do the job right and come out witha profit for 15% of the selling priceof said picture? My answer is em-phatically, NO DICE!

But now there seems to be quitea bit of talk around from a numberof agencies eyeing the television bandwagon. They are thinking about start-ing film departments and near -filmdepartments, and again here goes thewell known neck way out. I believethe fact that television is knockingon the door is what has awakenedsome lagging agencies with the reali-zation that motion pictures are some-thing they'd better learn a little

about, if they want to "keep up withthe Jones." However, because of thecost of film, with the exception ofone -minute shorts, there probablywill be very little done in the wayof making one reelers and featuresexclusively for television. The eco-nomic basis is just not in the cards.Of course though, commercial filmswill now have a new outlet in tele-vision, and as eventually it will prob-ably be a major outlet, almost allproduction will have to be made withtelevision very much in mind.

What seems to be happening isthis. Agencies will be setting up filmdepartments of one sort or anotherand television will be a by-productuntil there are enough receivers outto create an advertising market largeenough to warrant production costs.And because a film department won'tbe able to depend upon televisionfor receivers for a few years it isstill faced with the problem of howit will make money out of commercialfilm.

Right here and now it should beunderstood that I don't lay any claimto knowing the agency business -only the motion picture business. Aproducer couldn't make all the nec-essary contracts required to sell apicture, write an outline, a script, orboth. get all necescary approvals. as-

sign a man to supervise productionand what have you - for 15% ofthe selling prices of the picture. Andif he can't, how can the agency?

On the other hand, if the agencyonly gathers in ideas, outlines andbids from producers, places the con-tract and then quits until the pictureis ready for final approval and de-livery (that broker again) Mister.you'll not only make money at 15(4- you're liable to lose clients.

Here's A ComparisonTo make an attempt toward getting

"down to brass tacks", let's take ahypothetical job - two jobs in fact.These will not only throw some lighton the reason why a great numberof agencies have shied away frommotion pictures in the past, but willalso turn the spotlight on the profitand non-profit possibilities of anagency motion picture departmentworking on a straight 15% com-mission.

To do this. let's take the businessof getting up a double -page spreadin color for insertion in the Sateve-post at a space cost of $24,000.00.That's one job; the next, a salestraining motion picture for the sameprice. How much work is involvedin each job and where do we getoff financially? Stick around, this is

THIS is the wind-up article on agency handling offilm departments. H. G. Christensen, has pulled

no punches in his discussion of the problems involvedand the obligations of an agency if they undertakesuch a venture.

TELEVISION invites you to pull no punches if youdisagree with him. Send in your questions, or yourcriticisms, for Mr. Christensen to answer.

December 17

going to be interesting.The work or production on a

double -page spread; copy and lay -out,approval, finished art, typographyand plates may take anywhere fromthree days to a week or two, for onead. You agency men know better'nI do, how long it takes. I'm justguessing. Now let's look at the dollarside of this picture. No need forguessing here. The cost of the Sateve-post space being $24,000.00 means$3,600.00 in your till. Next comessomething you could never get on apicture - 15% commission on pro-duction costs of the ad. Assumingproduction costs on this ad runabout 15% of space cost, being incolor - we toss another $540.00into the till, bringing the total take -incommissions to $4,140.00. THAT'SFOR ONE AD, RUN IN ONE MAGA-ZINE, ONE ISSUE! But we don'tstop here.

Seldom is a double -page spreadrun in only ONE magazine. Theagency orders its insertion also inColliers at $20,000.00 and Life atthe tidy sum of $28,600.00 less 37( .And for that tremendous effort runsthat $4,140.00 commission into a"not to be sneezed at" $11,300.00.Not bad, if my figures are corrector almost correct.

Now, what are the chances forLittle Orphan Annie; the movie de-partment? Well, to begin with - ifyou're handling a $24,000.00 salestraining picture on a 15% basis,you collect $3,600.00 in commissionfor your work - and no more! Nocommission on production costs -as pictures are all production.

Commission On FilmsYou can collect that commission

in one of two ways. ONE: have theproducer figure it as part of his pro-duction costs, but payable to you -thereby giving the client a $20.400.00picture for $24,000.00. TWO: giveyour client a $24,000.00 picture, withyou, the agency, adding the $3,600.00to your billing, for a total cost tosaid client of $27,600.00. This is alot different than placing space innational magazines, space that theclient cannot buy direct from the pub-lisher and save that discount or com-mission.

If you'll check to the first articleon this subject, you can't help butrealize how much more time andwork is involved to create, sell, writeand follow through on the productionof any picture to its final approval,

than is required to create and pro-duce a double -page spread. And asto the dollar return, let's look againat the financial statement.

MOTION PICTURE VS.

itemized a little way back. It's a oneword answer, so we'll capitalize it.and you can capitalize on it, later --it's DISTRIBUTION!

DOUBLE -PAGE SPREAD

Cost Commission TimeOne two reel picture $24,000.00 $3,600.00 6 to 8 weeks

One double -page spread 3,600.00 540.00 1 to 2 weeks(Approx. production)

Satevepost insertion 24,000.00 3,600.00 1 to 2 weeksColliers insertion 20,000.00 3,000.00 1 to 2 weeksLife insertion 27,742,00 4,161.30 1 to 2 weeks

$75,342.00 $11,301.30

Commercial shorts need as much prepara and realistic settings as featureproductions in many cases, as evidenced by this interior shot from "This WayPlease," produced for Remington. Much attention has been given to the details.

Looks like little Orphan Annie isin a spot - and I don't think 15%will get her out. There's got to beanother way. What's the answer?Give up the idea of a motion picturedepartment? My answer would beNo!Don't overlook the proven fact thatthe right kind of pictures, well con-ceived, written and produced, intelli-gently used and integrated with theclients' entire advertising, sales pro-motion and merchandising campaign,can contribute greatly to its overallsuccess in results. And Brother, thatnot only keeps the client happy withhis choice of agencies, but can alsoresult in bigger and better budgets.

The answer to getting Little Or-phan Annie "out of the spot" lies inthe dollars and sense department

Now, if we spent the $24,000.00for six top-notch minute movies, in-stead of for a sales training picture;and bought theatrical distribution tothe tune of $71,742.00, (same as thespace costs in the magazines) whichis commissionable to the agency alsoat 15% - you can begin to seewhere your motion picture departmentwill no longer he an orphan.

Distribution ChannelsBut, minute -movies are not the

only type of pictures that can bedistributed to consumer audiences.There are dozens of different chan-nels of distribution available for pic-tures of interest to various consumergroups.

One reel pictures on various sub-jects have been run in many theatres

18 Television

throughout the country, sponsored bysuch companies as Ford, GeneralMotors, Metropolitan Life, U. S. Steel,Chevrolet, and others. If memoryserves me correctly, it was well overtwenty years ago that The FordWeekly was a featured short in manytheatres. In addition to domestic dis-tribution, there is the ever wideningfield of foreign distribution, whichquite a number of "on -the -ball" ad-vertisers are already using to goodadvantage.

Then there is non -theatrical distri-bution, which is today being handled

tomers and the like? There's many ofthose produced and they are the onesthe agency can't make an even breakon at 15% - unless, as I've saidbefore; they're out-and-out brokers.Well, what about 'em, should youpass 'em up?

Well, nobody's in business fortheir health, even physical culture in-structors. An agency with a realmotion picture department, thatreally gives the client that "plus"service which results in a betterpicture, should be paid on a basiswhich will allow a fair profit. To ac -

Special attention must be given to lighting, even when shooting outdoor se-quences. Note the two lamps used for greater illumination in this scene from theNational Carbon Co. short, made by the West Coast Sound Studios, Inc.

by a number of companies and or-ganizations on a national scale. Youspecify your audiences, as to type,size or number, location geographi-cally, turn over the required numberof prints of your picture and they'lltake it from there, at so much perscreening, or so much per person.

All of this distribution service isconunissionable to the agency thesame as though they were buyingspace. But you've got to have theright type of pictures for this kindof distribution; just any old reelwon't do.

Now, what about the type of pic-tures that aren't made for consumersand can't be. distributed, except bythe client himself, to his own person-nel, distributors, dealers, salesmen,servicemen, certain classes of cus-

complish this, possibly some changesin the methods of charging for thisservice should, or could, be made.And let me say again, I'm not pre-suming to tell you how to run theagency business. These are only sug-gestions which come free with TELE-VISION Magazine.

Pictures being what they are, (andhonestly they can't help it) such as;no two dike, therefore, no two costsalike; each one presenting new andentirely different problems; trying toestimate in advance the time yourpersonnel is going to have to putin on each picture; and whether ornot 15% will cover it, would requirea new kind of C. P. A. - Clairvoyant,Prophet, Astrologer, rolled into one- and he couldn't do it.

So, what's wrong with this idea?

Tell the client something like this:Theonly fair way for the agency to workon motion pictures on which there isno distribution to be handled, is tokeep an accurate record of the actualtime put in on the job by departmentpersonnel; bill it to the client at cost- plus five per -cent for profit, towhich the agency is entitled. After all,you can't go broke taking profits -unless you're not entitled to 'em.And in suggesting this, I'm assumingthat the service you give for what youget, is worth it and the client isaware of the fact.

Agency AttitudeEarlier in this article you probably

noticed I said we'd throw some lighton the reason as to why a greatnumber of agencies have shied awayfrom pictures in the past. There arestill some agencies who consider mo-tion pictures a second or third-ratemedium - and some who won't con-sider them at all. That's simply be-cause as already pointed out -printed words and art work doesmuch better by "our Nell" financiallyspeaking. So does radio. I may bewrong on this, that's Democracy foryou. On the other hand, other agen-cies have been running successfuldepartments for some time and Ithink their hardest job was to getreal recognition from their ownagency.

Now that television is emergingfrom its swaddling clothes, motionpictures are going to be part of itsgrowing pains. FCC has ruled thattelevision broadcasters must dish outtwenty eight hours a week, minimumprogramming, per station. This makestelevision a mighty lusty infant -one who needs the guidance ofadults, and adults trained in motionpicture technique will be of greathelp. So, if you're going to hire anyof 'em to help raise this kid, againI repeat, get somebody who knowsmore than the kid does.

Next on the agenda is - whereand how can an agency get competentpersonnel to man a motion picturedepartment?

We all know the type of guy whosays, "How long does it take tobecome an artist?" We also knowthat "time" is the least of it. Somepeople struggle with it and at it alltheir lives and never become artists.That is "good artists." Writing anddirecting pictures - well, it's thesame there. But there's enough good

(Continued on page 47)

December 19

One Man's ReflectionsBy RAYMOND WILMOTTE

THERE has been a tremendousnumber of words expended dur-

ing the last few months on what to doabout the allocation of television inthe overcrowded spectrum. Shouldwe operate it now at its present stageof development or should we wait forfuture developments and, if so, whatfrequencies should we set aside forthis super -television? The industryhas been split into roughly two camps- - one, the "act -now -school" and theother, the "act -later -school," each witha well defined plan of procedure.

Dr. Goldsmith, who has been writ-ing this column with an unequalledbackground of knowledge and in-born gift of common sense, has sug-gested recently a new solution % hichmight be considered a compromisesolution but which I think is a newcreative solution which does not ba-sically attack the position of eitherof the main schools of thought on thissubject. Dr. Goldsmith's suggestionhas been to do what we can on thepresent frequency band but segre-gate a band somewhere between 5,000and 10,000 megacycles in which ex-perimental work would be carriedout for the eventual commercial de-velopment of a really first-class tele-vision service. That, of course, is along-time view for we are a long wayfrom having commercial equipmentwhich would operate at those frequen-cies. However, as Dr. Goldsmithpointed out, there are a number ofpossible important advantages in theuse of these frequencies.

I feel self-conscious in adding myvoice to the many other voices onthis subject. However, since TELE-VISION Magazine has requested meto write an article during Dr. Gold-smith's present sickness. I am goingto take this opportunity to express mypersonal views and use the facilitiesof our national prerogative, thefreedom of the press.

Too Much KnowledgeIt is apparent that these discussions

on the frequency allocation of tele-vision are created by too much knowl-edge. In regular broadcasting, whenit first appeared in the commercialpicture, there was no real problemat the time because our knowledgewas meager and there was only onemethod of transmission. Considerwhat would have happened if at thattime there had been a glimmer ofthe potentialities of frequency modu-lation or of pulse time modulation.There would then have occurred in-numerable discussions as to whetherthe regular broadcast band shouldbe opened up for sound broadcastingor whether we should wait until bet-ter methods had been properly de-veloped. Actually what happened wasthat the regular broadcast band wascommercially developed to its full po-tentialities. Then frequency modula-tion came along and its potentialitiesmere recognized. The situation is thatfrequency modulation is going to beput in competition with the regularbroadcast AM band. Which systemwill win?

It is very difficult to say at the pres-ent time the degree of acceptance ofone system over the other. or thetime that it will take for the relativeacceptance of the two systems toachieve a stable level. If .we believein our system of free enterprise con-trolled by economic need and demand.then is not the normal method offinding a solution to let the systemscompete, eliminating as far as pos-sible any governmental action % hichwould handicap one system in favorof the other? What other method orprocedure is available?

If one system of modulation isreally superior in its performanceto the other, but not inherently moreexpensive to the user. who is to tellwhether the public will prefer to paythe extra cost for the improved sys-tem or whether it will prefer to saveits pennies for some other use? Is anyone person or small group compe-tent to decide? Apparently the only

method in our economic system offinding out is to try it out and letthe economic system he the judgerather than governmental agenciesand engineers.

On the basis of this analogy withsound broadcasting it would seem thatthe television allocation should be es-tablished by competition between thedifferent frequency bands. This com-petition will combine both economicsand engineering. It is true that itseems a shame to establish a systemwhich may later have to be scrappedin favor of a better system, for doingso may be a burden on the generalpublic as well as on the operatorsand it is a risk that is the very coreof much of our technical progress.If a manufacturer develops a betterpiece of machinery than another, per-sons buying that machinery may findthemselves in an advantageous posi-tion over those who have the oldtype of machinery and the manufac-turer of the old ,type of machinerymay be in a bad competitive posi-tion. It may be that is not the waythat technical progress should findits place in the community but it isthe way it has been used under theAmerican economic system. Until % ediscard this system, I see no reasonwhy it should not be applied to broad-casting in the same way as it is inany other industry. The mere factthat broadcasting has to he govern-mentally controlled because of thescarcity of frequencies, seems to beentirely beside the point that controlshould adopt the economics in exist-ence as closely as it possibly can. I

have no doubt but that this is theavowed feeling of the individual mem-bers of the Federal CommunicationsCommission.

Policy ConflictHowever, in many instances the

Commission does not follow this prin-ciple. It is subject to a conflict ofpolicy between the desire to let our

(Continued on page 291

20 Television

TELEVISION Magazine'sFirst Audience Panel Survey

Here is the compilation of the first survey conducted by TELEVISION among the 100 key families compris-ing its audience panel. Irregularity in quality of programming, condition of receivers, and other highlyvariable facts might easily lead to misleading information. The results of this survey are not offered asconclusive evidence for any part of television. It is presented only as interesting material which might pos-sibly shed some light on commercial and programming techniques and the habits of the viewing audience.

By FREDERICK A. KUGEL

BALLOTS were sent out to 100 key families for thenight of November 2nd. Programs on that night were:

WCBW8:00 to 8:15 News and an-

alysis byTom O'Connor

8:15 to 8:30 "Choreotones"

8:30 to 8:45 Film

WNBT"The Televi-sion Quarter-back" withLou Little"The World InYour Home".Cavalcade ofSports - Box-ing.

8:45 to 9:00 "Photocrime"9:15 on BoxingNumber of ballots sent out 100Percentage returned 64%

Based on number returned

Sets on all or part of evening 66%Not home 14%Television sets out of order 9%No answer 5%Home, but not listening to set 3%Ballots returned too late for tabulation 3%Total 100%

Particularly significant were the reactions to the Gil-lette commercial technique, effectiveness of Walthamtime signals, and high poll of WCBW's film programPhotocrime.

To the question "Which advertiser made the mostvivid impression?" there were 27 votes for Gillette; 6for U. S. Rubber; 2 for Waltham; and 1 for RCA.

On a 15 second memory test naming advertisers, therewere 35 votes for Gillette; 21 for U. S. Rubber; 19 forWaltham and 17 for RCA.

Gillette by far had the greatest number of commercials,as slides were used during each round of the boxing

bouts. However, the comments accompanying the vote3seemed to open up the old controversy on the LuckyStrike "the green has gone to war" technique. Hereagain, in Gillette we have a commercial technique whichirritated a good many viewers, but at the same timeindelibly stamped the name Gillette in their minds.

Comments were, "Gillette talks too much about theirproduct" . . . "we see and hear Gillette blades till theycome out of our ears"; if you have any influence, pleaseask them to change the picture once in a while" . . .

"U. S. Rubber is good, dignified advertising, GilletteRazor advertising is annoying, ridiculous, and at toofrequent intervals."

On the other hand, one answer to the question, "Whatdid you learn from the advertising message?", resultedin an advertising testimonial to top all testimonials. "Mvhusband switched to Gillette blades and found them tobe all that you advertised".

The high rating that Waltham Watch received, con-sidering that their commercials consisted only of twotime breaks, is perhaps the best indication of the poten-tial power in television advertising. Obviously televisionwill prove to be one of the most effective mediums forthe advertising of time pieces.

Audience opinion on U. S. Rubber's Keds commercialwas that it was good advertising. Comments were alongthe lines of these, "Liked U. S. Rubber advertising,not overdone" . . . "Satisfactory enough to interest butnot boring". Many mentioned the free sports bookletoffered on the program.

Interesting in programming was the high pull ofWCBW's Photocrime against the highly popular regularfeature, the boxing bouts on WNBT. The Photocrimewas on from 8:45 to 9 o'clock, and one-third of the setswere tuned to this program, two-thirds to the fights, whichhad started at 8:30. As Photocrime is not a regular fea-ture and as Madison Square Garden fights are not only aregular Friday night feature, but are about the onlytelevision fare than can be classified as truly professional,this is further indication that any ratings at this stage oftelevision that sports are the most popular type of pro-gramming can be misleading.

December 21

BREAKDOWN

Seventy-one percent of the sets8:00-8:15 P.M. were on during this period. One-News-Excellent third of these sets were tuned toLou Little-Good WCBW which viewed the News

and two-thirds were tuned toWNBT's Friday Night Quarterback. Among the viewerswere 77 males, 53 females and 21 children, making atotal of 151 listeners or 4.9 listeners per set.

The News was well received. Viewers liked the mapsand pictures of news events.

The Football Quarterback program was definitely wellliked. However, Lou Little's voice and personality for usein television Has challenged by many of the viewers.Typical of the comments was "Like Lou Little. but nothis voice."

8:15-8:30 P.M.Choreotones-Either liked verymuch or dislikedintensely.RCA VictorProgram-Fair

Seventy-six percent of the setswere on from 8:15 to 8:30 P.M.There were 76 male, 49 femaleand 16 children viewers makinga total of 141 or 4.6 viewers pertelevision set.

One-fourth of these sets weretuned to WCBW which hadChoreotones Modern Dance),

while the other three -fourths were viewing the RCA Victorfilm, "The World We Live In."

Half of the viewers of the Modern Dance enjoyed itvery much even though one person complained that hecould not always see the performer's feet. The other halfdidn't enjoy the program because they did not like inter-pretive dancing or ballet.

8:30-8:45 P.M.Film-FairFights-Excellent

The consensus of opinion on the RCA Victor film wasthat it was fair. Comments were neither pro nor con.

Eighty-three percent of thesets were on at this time. Therewere 127 men, 49 women and 15children view ing making a totalof 202 viewers or 5.9 viewersper set.

A little more than one-third of the sets were tuned toWCBW's film presentation, while the remainder of setswere tuned to the boxing bouts sponsored by Gillette.The film was just fairly received but the boxing came outwith top honors.

8:45-9:00 P.M. Seventy-one percent of the setsPhotocrime- were on from 8:45 to 9:00 P.M.

Excellent 136 men, 61 women and 9 chil-Fights-Excellent dren making a total of 206

viewers or 7.1 persons per set.One-third of the sets were tuned to Photocrime on

WCBW, two thirds to the fights on WNBT.Photocrime was very well received. Comments spe-

cifically mentioned excellent acting.

Seventy-one percent of the sets9:00 on were now watching the fights onFights-Excellent WNBT. 136 men, 59 women and10 children, making a total of 205 or 7.0 per set.

Other activities In 20 percent of the homesengaged in replying, television sets were not

on during the entire evening.The "conpetition" was business, the radio, the papers,just talking, playing cards, visiting, and the movies.

Union Picture In Television Field

National Association of Broadcast EngineerTechnicians (NABET) is another established unionwhich represents radio technicians and which intendsto increase their membership to cover comparable jobsin television. Being the bargaining agent at NBC, NABETcovers the technical workers at WNBT.

Affiliated Committee for Television (ACT),comprising Hollywood Guilds and unions, was formedto study the effect of television on the motion pictureindustry.

Among the more important groups represented in ACTare the Screen Writers Guild; Screen Directors' Guild;Screen Cartoonists; Radio Writers' Guild; Motion PictureFilm Editors; Screen Actors' Guild; International Photog-raphers; Screen Set Designers, Illustrators and Dec-orators; American Society of Cinematographers, andAmerican Federation of Radio Artists. Activities of thecommittee include a research program, study of legaland economic problems, courses of instruction and aworkshop television program in order to keep abreast ofall developments and to lay the ground work for success-ful transitions from one art to another. Meetings andlectures, a circulating library and the publication of abulletin serve to disseminate the information gathered.

Irony page 81

SUMMING IT UP . . .

Draw ing any conclusions now as to the ultimate labor-management picture in television would he premature.However, both IATSE and ACA seem to have definiteplans for fairly complete organization of station personnel.With the IATSE contract at DuMont, and ACA in atMetropolitan and with both unions trying to organizeWPTZ, Philco, in Philadelphia, tip-off would seem to bethat these unions will concentrate for complete coverageprimarily on the independent television stations. Radiostations have existing union contracts and undoubtedlythese unions will extend their coverage to the affiliatedtelevision stations, as was done at NBC by NABET andat CBS by IBEW.

Only one thing is clear: The coming year will see anacceleration of the study now being given to televisionby all labor unions and a corresponding increase oforganizing activity to match its growth.

But the main question, which is furrowing many brows.is still unanswered.

Will jurisdictional disputes, inter -union struggles andunion demands hamstring the industry?

Or will the unions straighten the situation out amongthemselves and leave the stations out of the fight - asmanagement fervently hopes?

22 Television

Television Studio Control EquipmentOne in a series of articles on station equipment .. . Smooth production can only

emanate from the control room, according to Mr. Taylor, who advances some of

DuMont's equipment ideas.

By HERBERT E. TAYLOR, Jr.

Aprevious TELEVISION Magazine article (June,1945) pointed out that many of the faults found

in current studio floor equipment (most of which is wellover five years old) will be eliminated when "postwar"equipment becomes available. Coordination of those em-ployed on the studio floor will be acquired with greaterease. Angle and dramatic shots, essential to good pro-duction, will be possible through the greater flexibility ofthe studio camera and associated equipment.

While adequate studio floor tools are essential to asmooth broadcast operation, these tools can not guaran-tee it. Smooth production can only emanate from a small.glass -enclosed room, marked "Private-Keep Out": thestudio control room. It is from this room that directions,cues, and timing are effected, blending of pictures is ac-complished, and continuity is perfected. In this room wefind the heart of each "live talent" performance. It is inthis room also that most difficulties arise.

Television engineers, concerned with the problem ofdesigning "postwar" studio control equipment, foundthemselves involved in many controversies over its opera-tional design. These controversies did not involve the tech-nical design of the equipment or the types of circuits tobe employed. They did evolve from the varying needs ofthe program directors who would fully utilize the opera-tional qualities of the equipment.

Experience at Du Mont television station WABD hasshown that few of the present directors use the same tech -

December

nique, demand the same facilities, or use the same pro-duction methods. A few want to stand in the background,script in hand, and call instructions to a production as-sistant who relays directions to the floor personnel oraccomplishes a fade, camera switch, or whatever may becalled for. Others demand to direct the efforts of studiofloor personnel themselves. A few desire to effect theirown switching and fading at the control equipment. Somerequest facilities for a silent operation of the controlequipment through a series of lights tied in with keyslocated on a director's console. The only spoken wordwould then be the directions to the floor personnel. Theseare but a few of many needs of those employing theequipment today. As television increases in scope, asmore directors are employed, it is reasonable to presumethat many more viewpoints will come into being-moredemands will be forthcoming. It is this potential the de-sign engineer must take into account when designingequipment. It is this potential that must be consideredcarefully before setting designs for the Studio ControlEquipment.

What Studio Control Units CompriseIt would be well to further understand the units com-

prising the Studio Control Equipment prior to describ-ing the functional layout. Each single camera controlchain contains:

1. A camera control unit, which regulates beam cur-rent of the pick-up tube, regulates vertical and horizontal

23

sweeps, vertical centering, key stoning, pedestal and thebrightness of rim lights.

2. A shading generator which compensates for sec-ondary emission from the mosaic plate of the pick-uptube, unevenness of mosaic response and studio lightingdefects. This unit also contains a monitoring cathode rayoscillograph which is used to observe horizontal and ver-tical picture information.

3. Monitor for the purpose of viewing the actual pic-ture as picked up by the studio camera.

4. Power supply units as required to operate the con-trol and viewing equipment.

To complete the control equipment, whether it is asingle or multiple camera chain, the following equipmentis added:

1. Synchronizing Generator.2. Line Amplifier, camera switching unit, monitor

cathode ray oscillograph. This unit will be of individualdesign suitable for either a two, three, four or morecamera chain. It should be noted that a single camerachain does not require this particular unit, since switch-ing of cameras is not necessary.

3. Viewing monitor for the line amplifier which indi-cates the picture as it is fed to the transmitter.

4. Power supplies as required to operate the controland viewing equipment.

In this component and unit function description of thestudio control equipment, we have the basic units foundin present day equipment and to be found, with modifi-cations, in newly designed equipment.

Functionally, these components are presently arrangedin a console as follows:Top row. Monitoring Cathode Ray OscillographCamera Monitor No 1-Camera Monitor No. 2-and

Line MonitorLower row. Camera Control Unit No. 1-Shading Gene-

rator No. 1Camera Control Unit No. 2-Shading Generator

No. 2' Line Amplifier and Switching Unit and Distribu-tion Panel

Power supplies are all concealed in the base of theconsole. The Synchronizing Generator and other distri-bution equipment currently used at WABD are containedin a rack located directly to the rear of the control con-sole. Sound control equipment and turntables are locatedto the right of the video control console, while the direc-tor's table mounted on a small platform is located directlyto the rear of the sound control equipment. This arrange-ment makes it possible for the director to sit at his desig-nated position, observe the images as they appear on themonitors, and look directly out on the entire studio floor.The "postwar" equipment will follow the basic layout ofpresent equipment with the exception that modificationswill be made with respect to the requirements of efficientoperation.

Television stations, at first, will probably make theirstart with a modest equipment investment. For this rea-son, the studio control console will be comprised of inter-locking units, each unit capable of operating independ-ently, containing the Camera Monitor, Camera ControlUnit and Shading Generator. This makes it possible for astation to start with a single or dual camera chain, and

24

at a later date expand to three or more camera chainsnecessitating only a change in the line amplifier and.4% itching unit.

What Some of the New Changes AreThe height of the DuMont control desk has been re-

duced from the present 58 inches to 42 inches, making itpossible for the control operator, as well as the director.to observe the studio action. This lowered design alsoeliminates the need for the director to sit to the rear ofthe equipment at a desk mounted on a raised platform.Sitting at the control desk, the director can maintain hiscontrol, observe the viewing units with greater ease, andstill observe the entire action on the studio floor. If it isdesirable that he do so, he may also manipulate his ownswitching controls and personally direct the efforts of thefloor personnel. The viewing monitor units, which incor-porate the DuMont 12 -inch cathode ray tube, are mountedat a slight angle permitting the technicians and the direc-tor to observe both the screen picture and the studioaction merely by raising or lowering the eyes. Mounteddirectly below the monitoring units are two 5 -inchcathode ray tubes which are used by the control tech-nician to observe the horizontal and vertical signal infor-mation. The provision of two oscillograph tubes insteadof the single tube found in present-day equipment makesit possible for the technician to observe the horizontaland vertical information simultaneously. All control dialsand buttons are mounted remotely from the actual con-trol equipment at an angle providing ease in control andcomfortable operation.

The control desk also comes equipped with a standardclock, a special clock with a one -hour dial, another witha one -minute dial, two supersensitive microphones on theintercommunication system for the direction of floor rer-sonnel, one speaker on the intercommunication systemto receive necessary information from the master controlroom, and two lamps over the desk slides for easy read-ing of scripts and cue sheets.

A series of lights may also be included to aid in thecueing of film and to assist the control operator in advis-ing the director when a scene is ready to be flashed onthe air. These lights, when tied into a separate director'scontrol desk, may also be used by the director to cue theproduction assistant in the selection of camera pickupshots, thereby eliminating some of the voice confusion ofthe control room.

The important point of the "postwar" studio controlequipment is the extreme design flexibility which enablesit to fit any type of operation, any program need. Itmakes it possible for the director employing its flexibilityto sit at the desk, stand behind it, sit at a table mountedabove and to the rear of it, or to exercise his prerogativeof pacing up and down. It is possible for the director todirect the entire operation, cue the floor personnel, switch,fade or blend pictures himself or direct others to do it.

Whether it is a community, metropolitan, or majornetwork originating station, the "postwar" efficiently de-signed studio control equipment will meet the varyingneeds of those employing it. The right tools in the con-trol room, used in conjunction with the flexible tools onthe studio floor, will make it possible to produce thesmooth programs expected by a radio and motion pie,lure trained audience.

Television

So You Think

You Know the Medium!Too many self-styled experts are doing television a lot of harm

by expounding their personal theories as facts, according to

BEN FEINER, JR.

Assistant Director ofTelevision Programming WCBW

Of all popular activities in modern times none has beensubjected to such a barrage of tripe as Television.

I'll except the engineering boys from this castigation be-cause of my innate respect for scientists and because Irarely understand what they're writing about anyhow.

Actually, there probably is a handful of people in thecountry whose experience does entitle them to be con-sidered authorities in the field. Most certainly I am notone of these. But just as certainly neither are scores ofself -constituted mouth -pieces whose effluvia is mopped upby the press, the magazines and the book publishers ofthe nation in their eagerness to pass something along toa video hungry public.

Sooner or later this same public is going to gag on alot of what it's being fed and the resultant process ofregurgitation will be most unpleasant for all concerned.

At the moment, however, it's paying its dollars to go to"schools", unequipped and run by people who have beenexposed to Television for about as long as a graflex shotof a swan diver. It's paying its nickels, dimes and quar-ters to read articles written by dancers who haven't beenunder the lights long enough to work up a good perspira-tion; and it's paying attention to lecturers who don'tknow the difference between the dolly -man and the sistersof the same name.

There are nine Television broadcasting centers cur-rently in operation. Each of these has its own policies,its own objectives and its own limitations. Equipmentand personnel vary all along the line. Obviously then, itsphysically impossible for most of us to be familiar withthe techniques and practices employed in most otherstudios; and without such knowledge, general conclusionshaven't much value.

Sure, a person can come to conclusions about pictures,or radio or the theatre - because in these fields, workingconditions - whether it a Fox lot or a Warner lot; anNBC studio or a CBS studio; the stage of the Alvinor the stage of the Shubert - are almost identical.

And certainly the objectives in these fields are fixed.Fixed in simple terms of lines: lines in front of theatresor lines on sales charts.

No Set StandardsBut in our business there are, as yet, nothing like such

standards. At the moment R.K.O.'s Television objectivesmay be as different from NBC's as Balaban and Katz'sstudio is from CBS's.

Now personally I haven't had the opportunities forintimate discussions with responsible representatives ofother organizations concerning their objectives. Andeven if I had I would be neither hurt nor surprised if theyindicated a certain disinclinaticn to bare their souls tome. As a matter of fact I haven't even seen most of theother studios. (Note to my superiors: A situation that Ihope you'll see fit to?, correct) Consequently I'm a littlegoggle-eyed when I go to a luncheon, hear a long perora-tion on what's wrong with Television (with a big "T") -and how things should be done - and when I say tothe speaker: "I don't think I've seen you over at ourplace," he says, "No, I've been meaning to but I justhaven't been able to get around to it."

Now I don't mean to imply that WCBW bears theexclusive burden of television broadcasting in the met-ropolitan area, but I think that it does do enough to war-rant a casual visit from a lad with all the answers.

Another time I was introduced to someone who hadwritten an impressive critique on the art of the Televisioncamera and I asked: "Are you in television or movies?"he replied, "Neither, I'm a portrait photographer, butmy wife's Uncle has a receiver and I've seen enoughprograms to know what should be done".

Oversold PublicI think the story that really upset me most was the one

(complete with plans and drawings) purporting to des-cribe the equipment and methods required to operatea television station. The results ensuing from this littlegem would have been chaotic - to put it mildly - sincetere was absolutely no mention of, nor provision for,any operations department.

And so it goes. The public already oversold as theresult of irresponsible publicity, envisages nightly tele-vision productions resembling a cross fertilization of theworks of Cecil B. DeMille with those of Billy Rose.

Better informed individuals sensing the unlikeliness ofsuch spectacles, in the near future, and anxious for hon-est information, are beset by phalanxes of self-appointedauthorities who carry about as much genuine weight as aKentucky Colonel would at SHAEF.

In the meanwhile a few score of men and women sweatit out at the various studios and agencies. They're toobusy to do much writing or talking and certainly tooaware of how much is yet to be learned to consider them-selves authorities.

They resent the self -exploiters who are trying to ridethe crest of the television tidal wave without getting wet.They resent these people just the way charlatans are resented by honest laboratory workers in all fields . . .

not just for themselves but for the public and for the fu-ture as well.

All of which reminds me of a very succinct remark oncedirected toward television by Mr. James Lawrence Fly.He said: "Cut ouethe gab and get back to the lab".

Roger, Mr. F.

December 25

ADVERTISING

"Stand-by for 1946" is agency attitude, with increasing interest intelevision experimentation, shown by more of their clients.

There's a very real feeling thatthe long awaited "tomorrow" of tele-vision is here - that now is thetime to get going with the medium,despite its limitations.

Agencies are almost unanimous inreporting increased interest amongtheir clients and many presentationsare being prepared to show howtelevision can be slanted to a particu-lar advertiser's purpose. Admittedlytelevision is an expensive mediumright now. It can offer little in theway of increased product sales, withits limited audience. But there is anincreasing awareness that the im-mediate return is not the importantthing. That television has tremendouspotentialities may sound banal to re-peat here, but it is the acceptanceof this statement which is promptingthe increased interest in the medium.The "it's still a long way off" phil-osophy is giving way to "we betterbe ready for it".

And the experimentation that has

26

been done so far in commercial andprogramming techniques has onlyemphasized the need for continuedexperimentation and the same typeof analytical study which is accordedto advertising copy and radio com-mercials.

Then too stations haven't exactl%put out the red carpet for advertisers.First, studio and facilities limitationshave hampered all three of NewYork's operating stations-NBC, CBSand DuMont. And NBC and CBS, par-ticularly, have been more interestedin learning themselves, in trying outtheir own theories and conductingvarious experiments, than in com-mercial activity (see page 21, OctoberTELEVISION for statements on theirpolicy). Networks have also instituteda policy of okaying both program-ming and commercial content, whichhas not tended to make agencies toohappy. DuMont has had a moreliberal policy, which may be whyagencies like Ruthrauff & Ryan, Wil-liam Esty, Young & Rubicam, tomention a few, are waiting forDuMont to go back on the air inorder to resume their tele activities.

However the FCC stipulation of 28hours of programming per week isgoing to require considerable ex-pansion of facilities and personnel - -

and may easily result in more of anopen door policy.

Network Package ShowsHave Had No Takers

Paradoxically enough, though. de-spite this high interest two packageshows, prepared especially for spon-sorship, have had no takers yet.NBC's "Teletruth" program uses aquiz kid format and is now in itsthird month. The ABC package."King's Record Shop", combiningboth audience and viewer participa-

LEFF: Elgin Watch commercial overWBKB uses a model, who discussesthe watch she is wearing. Camera ismoving in for close-up of the watch.

Lion, is now in its second month,ith weekly presentation over WRGB.

Although stations report much in-terest in both programs, the dottedline stage has not been reached.ABC's "Wife -Saver", which recentlystarted a weekly schedule on WRGB.is also being offered for sponsorship.Some CBS programs, such as "TheMissus Goes A-Shoppin' " are alsooffered for sale.

Perhaps the answer as to why pack-age shows are not being snapped upright now lies in the old repeatedstatement - the only reason forgoing into television now is for achance to experiment. And agencyreasoning seems to be that packageshows do not offer that chance.

COMMERCIALTECHNIQUES

One of the unanswerables in tele-vision is the handling of commercialtechniques and the length of timenecessary to make a visual impressionon the viewer. There are innumerablediscussions on the advantages of filmover live, on the indirect approachover the direct approach, on the in-tegrated commercial over the separateone. Current experiments on timeand weather spots show how adver-tisers are now trying to find the an-swers to these problems.

What can be done in 20 to 60seconds? Not much time to playaround with, but agencies have useda variety of techniques; have utilizedfilm, animation, live and poster dis-play, have introduced love interest.comedy, pantomine; have combinedvisual and aural appeal or used visualappeal alone. Production costs rangefrom the simple poster displays tothe more expensive mediums of filmand live. Each has a different format.Some of them are described here toshow how seconds can be made tocount.

Time SignalsBen-Rus time signals over WCBW

tie in the Christmas gift theme. For-mat is extremely simple. with aChristmas wreath used as the setting

Television

for a Ben-Rus watch mounted on aposter in the center. Camera comes infor a close-up of the watch, whichgives the right time. Off screen narra-tion gives the commercial. Agency isYoung & Rubicam.

Bulova time signals over WNBTutilize posters and live, with changesmade from time to time. One versionemphasizes the "seeing" powers oftelevision, and with the exception ofbackground music, no oral announce-ment is made. This particular signalconsists of a large, watch -shapedposter, with the Bulova name on it.Hands on the poster are set at thecorrect time, with a second handsweeping around for sixty seconds.Agency is Biow Co.

Elgin - At WBKB, live modelsare used in the one minute com-mercial. Scene opens with a shot ofa model who comments on Elginwatches in general and then callsattention to the one she is wearing.Off -scene narration continues thecommercial, with the model beingpicked up again to give the correcttime. Precision instruments, such asthe marine chronometer, the elapsedtime clock and the sweep -secondtimer, have also been used during thetelevised time spots.

At WNBT, 20 second film com-mercials are used (as previously re-ported.) Film shows stars twinklingin the heavens - tying in with thead theme that Elgin time is timedto the stars. Both Lady and LordElgin watches come in to full screenproportions, then fade out. A mon-tage effect, showing a clock, paintedblack with white sweep hands, issuperimposed over the film to give thecorrect time. Off -screen narrationgives the commercial.

General Electric - Theme ofthe recently inaugurated one -minutetime spots on WRGB ties in the actionof human hands. performing dailytasks, with the hands of a clock.Time spot opens with a shot of aG -E electric alarm clock, as an off-stage narrator identifies himself as thevoice of the clock. Opening line, "Bymy hand other hands, human hands,act in split second coordination" givesthe cue for a fade-in of a televised"handy", showing a close-up ofhuman hands performing some task.

Typical of the action pantominedto show the importance of time ina newspaper office, were a reporter'shands flashing across a typewriterkeyboard in a race against the ap-proaching deadline. Next shot showed

ABOVE: Shot from the 20 -second Waltham Watch film, showing the happybride with her Waltham gift. BELOW: General Electric ties in the action ofhuman hands with the hands of the clock. Bandies are pantomimed while anoff -screen "voice of the G -E alarm dock" describes the importance of time.

hands rapidly checking galley sheetsin an effort to hurry the storythrough. The importance of secondsin photography was also dramatizedwith a hand adjusting exposure onfront of a candid camera; with handsholding a strip of developed negative,followed by a hand snapping downthe cover of a small dryer, thus carry-ing the process through to the print-ing of the negative.

Everyday household tasks were alsopantomined, with hands pouringmedicine, baking cakes, etc. Spot endswith the announcement, "Yes, I am aG -E alarm clock and whenever timecounts, you can count on me." Theexact time is then given.

Waltham uses two films for theirtwenty-second time announcements,given four times weekly over WNBT.First is based on a birthday party,with the young girl blowing out thecandles on her cake and expressingher happiness over the gift of a Wal-tham watch. Second shows a brideand groom getting into a car afterthe ceremony, with the girl happyover her Waltham watch. Off -screendialogue outlines the theme, with adissolve to a stylized watch showingthe right time. Waltham time signalsare also televised over WPTZ. Twonew films are now being prepared,according to the agency, N. W. Ayer.

Weather Reportsii,t,1 liy's weather report over

WNBT uses animated cartoons withtheir wooly lamb as the main char-acter. For the snow prediction, thewooly lamb builds a snow man.Commercial is worked in by havingthe snow man refuse a hat and acane but accepting the tie whenhe sees the Botany label. This is fol-lowed by a slide which gives theweather report.

WRGB weather report is a seriesof one minute comedy skits, pre-sented three times a week. Kepttechnically simple to avoid interfer-ence with the evening's main pro-gram operation, only one camerais used and properties and settingsare kept to a minimum. A slide an-nouncement, "WRGB Weather Re-port", introduces the one -minute spotand a slide bearing the forecast endsit amid fanfare music.

December 27

Many different angles are used togive a comedy twist. Typical are theold-fashioned methods of prediction,with an old man huddled before thefire and using his aching bones tomake the forecast. How girl lost boybecause she didn't dress for theweather, provided another theme. Atramp swatting flies in the parkbreaks his inactivity long enough toremark what the weather was apt tobe when flies acted that way. Sportsangle was utilized with a fishermansearching the heavens with a tele-scope. His verdict as to what kind offishing weather it was going to begave the weather report. And then, togive the forecast aural appeal, theweather news has also been set tomusic and sung by a couple of thestaff members.

COMMERCIAL SHOWSCurtis l'uilihing Company

stepped into television this seasonwith sponsorship of the Army -NotreDame and the Army -Navy footballgames. Before game commercialplugged the Saturday Evening Postby showing the cover, while the an-nouncer gave the commercial, stress-ing the football story which wouldappear in the next issue. A slide carry-ing the title of the story was alsoshown. After the game, the sametechnique was used, but covers ofthe other Curtis Publications, theLadies Home Journal and Holidaywere also shown. MacFarland, Ave -yard is the agency.

Lever Brothers - Aunt Jenny,an adaptation of the daytime radioprogram, was the second in the series

of four experimental programs whichLever Brothers, through Ruthrauffand Ryan, conducted over WCBW.

Opening shot was a display of Spry,which slid apart to show the title.Given the Tuesday before Thanks-giving, time element was utilizedwith Aunt Jenny, extolling the virtuesof Spry in her Thanksgiving menucooking, showing how to brush theturkey with melted Spry and com-menting on the cookies, pies, cakes,etc., which were also made with theproduct. Further emphasis was givenby having a jar of Spry prominentlyin the scene.

Opening was purely commercial,the dramatic part being introducedby Aunt Jenny's companion, whostarted to recount a scene he witnessedin a lunchroom. Camera then dis-solved to a lunchwagon, picking up adisgruntled customer and a disgustedwaitress who debunk Thanksgiving,while a serviceman listened. A thirdcustomer entered, helped in the de-bunking, and the cynicism got prettythick until the serviceman joined in.His thankfulness, for so pitifullylittle, pointed a moral to the otherthree.

Action was gotten through themovements of the waitress back andforth and occasional flashes to getthe reaction of the serviceman silentlylistening. Cameras then faded backto Aunt Jenny's kitchen for a briefdiscussion of the story. Commercialnote was introduced again throughan ad in McCall's magazine, illustrat-ing a Spry pie. Same pie was shownon the set with another discussion ofthe product.

In evaluating this program, it mustbe remembered that it was done asan experiment for television soap

opera. Integrated commercial wasused and the demonstration techniqueof actually showing how to preparethe turkey would probably interesthousewives on the look -out for newways of cooking.

Pan American uses a travel-ogue to show the viewer what vistasa Pan American flight can unfold.Opening with the slide, "Pan Ameri-can Presents Wings of Democracy",scene fades into animated maps show-ing Pan American airline routes,while off -screen narration invites theviewers to join in a television flight.Film shots show passengers boardingthe clipper and the take -off, dissolv-ing then into the travelogue of theland being visited. Commercial nar-ration stresses the differences in timebetween air and other methods oftravel and gives information on pass-ports, lifting of priorities, etc. Finishalso reverts to clipper in flight, to thetune of another verbal commercial.Agency is J. Walter Thompson.

CURRENT SPONSORSWBKB (B. & K.), Chicago:

Acrobat Shoe Co., "Amazing Ad.ventures of Tumblin Tim", throughRuthrauff & Ryan; American Gearprofessional basketball team, experi-mental educational program in co-operation with the Chicago Boardof Education; Commonwealth Edi-son Co., "Telequizicalls," "Welcometo the Walkers" and "Cooking by theDial", direct; The Fair DepartmentStore, Shopping Program, direct;Marshall Field & Co., "WednesdayMatinee," variety program, direct.

(Continued on page 33)

A jar of Spry isprominently dis-played in scene atleft, as "AuntJenny" gives alesson in brushingturkey with melt-ed Spry. At endof program, whichwas produced byRuthrauff & Ryanfor Lever Broth-ers, a close-up ofa Spry ad inMcCall's magazinewas shown viewers.

28 Television

One Man's Reflections iContinued from page 201

economics have free play and thedesire to ensure that as far as possiblenone has an economic advantageover his competitors. It often seems toforget that if technical progress isto be fostered, then an economic in-ducement should be provided and thatmay act counter to achieve economicequality. This ideology of economicequality leads the Commission to beover -specific in its standards of goodengineering practice. As far as pos-sible it should establish minimum re-quired performance rather than themeans of obtaining that performance.From a broadcast station it shouldrequire that it provide a certain mini-mum quality of service and a cer-tain area of service. It should alsorequire that the interference producedshould not exceed a certain maximumbut how this performance is to beachieved should be left to the opera-tor and his engineer's ingenuity.

If a particular operator's servicecan be increased without increasedinterference, why should not thisworthy operator be permitted to im-prove that service. Should not he begiven every possible inducement toproduce this improvement? The sys-tem according to which he has tospend much time and money at hear-ings is a handicap to his going ahead.If he is successful, should he not begiven the economic advantage of hisforesight and ingenuity? Certainlyit seems to me that he should not haveto try to prove that his competitorswould not be at a disadvantage towardhim. If such is the case under oureconomic system, he ought to beproud of it.

This last point might seem to be aside issue to the problem of televisionallocation. It seems to me, however,that it is quite important because itindicates possible danger that sud-den philosophy of government con-trol may be operated to hamper tech-nical development and if there is afield of broadcasting where technicaldevelopment is needed it is certainlytelevision. If better operation couldbe obtained in relatively short timeat frequencies where receivers couldhe made reasonable economically,then certainly would be built. in thematter of a few years. a tremendousindustry.

Split Frequency BandThe simple principle of letting our

economics system have free play inthe broadcasting industry is unfor-tunately not a cure-all. There still re-mains the Commission's problem ofallocating frequencies and seeingthat they are used effectively. TheCommission feels that it has done itsbest under the circumstances in thepresent frequency allocation which,unfortunately, splits the televisionband into two parts. As a consultingengineer, I can not help but realizethe inertia that there is on the partof potential operators to use the lowerpart of the band because of the fearthat the high part will not have anadequate audience for some time tocome. In addition, one school ( fthought feels that going to thehigh frequencies will permit theevolution of much better qualitytelevision. The solution of this prob-lem that the Commission has adoptedis to allocate a substantial frequencyhand to experimental television to al-low the development of super -tele-vision with the expectation of even-tually this band coming into com-mercial operation: The discussionthat now arises is, what band to se-lect for this super -television. Thehigher the frequency, the longer itwill take for this band to developinto commercial use.

The suggestion of Dr. Goldsmith'swas a band between 5,000 and 10,000megacycles instead of the presentband which is below 1.000 megacy-cles. My idea on the subject is thatthe frequency selection should bebased principally on propagationcharacteristics because I feel confi-dent that equipment will be devel-oped if the potentialities of the serv-ice are good and if, of course, thereis a reasonable expectation of an ade-quate return for the work. Fortu-nately the experimental work to dis-cover the propagation characteristicsis much simpler than the experimen-tal work required to develop a com-plete television system. By using thetechnique of pulses, well developed inradar operation, it is possible to an-alyze the reflections that might causeghosts and analyze the degree of at-tenuation obtained for different ter-rains. We can also make a betterreasonable guess of the relative mer-its of antennas at different fre-quencies.

Propagation CharacteristicsIt is unfortunate that we have no

more data available at this time onpropagation characteristics. We dohave some information but that islargely direct site or under sea. Weknow that in the hilly terrain thelower the frequency the better thereception, but on the other hand, inbuilt-up areas such as a large city,high frequencies give better servicebecause they are capable of travers-ing the openings in the steel struc-tures. Unfortunately, again the in-formation available is not much morethan qualitative. It is w dl know n alsothat very high frequencies are reflect-ed more easily by non-conductive ma-terials such as concrete and brickthan some other frequencies. It isto be expected, therefore, that thereis an optimum frequency band whichwill provide service in built-up areas,but what that frequency band is. is)et to be found out. We might findfor instance that the frequency bandbetween 5,000 and 10,000 megacyclesmight give very poor service in spiteof other advantages when the equip-ment for that band has been devel-oped. and that its use might be lim-ited. On the other hand, the differencebeween this band and the band be-low 1,000 megacycles may be suffi-ciently unimportant to make the otheradvantages for the higher frequencyband dominate the selection.

I have the feeling that one thingthat the United States is not likelyto be short of is engineering ingenu-ity. I think we can gamble on thatingenuity and depend on its solvingthe problems we present to it. butwe can not gamble on changing theshape of our hills and cities to meetthe requirements of a particular se-lection of frequency. The frequencyband selected must be capable of giv-ing good signals over substantialareas in all kinds of terrain. Weshould, therefore, select the frequencyband on experimental research onpropagation characteristics. I hopethat the Federal CommunicationsCommission and the industry willtackle this problem and eventuallyhave enough factual evidence for areasonable decision to be reached onwhat section of the spectrum shouldthe engineer direct his televisingattention.

December 29

EQUIPMENT

By T. R. KENNEDY Jr. and JACK KILPATRICK

PRODUCTION OUTLOOK.Original plans of RCA. Piffle° and DuMont were to have sets out

by April. OPA action or inaction has held up production, the sameas it has for standard radio receivers. June should now see receiverscoming into the market, although there's a chance that some of thenew companies in the field might jump the gun before then.

With the exception of a fewstation replacements not morethan a handful of transmitterscan he expected by the end of1946. It won't be until 1947 be-fore any appreciable transmitterproduction is underway.

THE RESNATRONThe "resnatron-, a 300 -pound very -

high -frequency vacuum tube thathelped blitz Axis radars, an elec-tronic giant that can produce thou-sands of watts of power on channelsin the hundreds -of -megacycles. is nowthrough with war and is being adapt-ed to the peacetime job of creatingvideo -sound signals to serve Amer-ican homes.

The story of the resnatron reads

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like a page from a novel of JulesVerne. In Europe it confounded Axisnight fliers over Germany andjammed air and ground radars soour fliers could fly safely home toEnglish air fields after bombingGerman cities. In the war it gene-rated between 30,000 and 50,000watts of radio power on waves from350 and 625 magacycles. The wholeresnatron apparatus for one blitzerwent into the field on seven largeArmy trucks. A 30 -foot parabolic re-flector directed the waves over theEnglish Channel and Germany. Inthis beam our airmen returned safely.The equipment affectionately wascalled the "tuba" because a hugebarn -like reflector was often used todirect the beams.

The resnatron is an electronicgiant described as combining advan-tages of the ordinary multi -elementvacuum tube and the cavity -resonanceprinciples of the "kylstron" and "mag-

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UPPER LEFT: Cut-away sketch of the Slo-an -Marshall Resnatron,showing the construc-t' . This special tet-rode, the heart of thehigh -power jammer"Tuba", develops 30kilowatts at frequenciesfrom 500 to 600 mega-cycles. Before the war.10 watts was the maxi-mum available at thesefrequencies. LEFT:Block diagram of thevarious units makingup the high -power jam-mer "Tuba". This wasdeveloped at the RadioResearch Laboratory atHarvard University, inorder to protect AlliedBombers in Europe byblinding German night -fighter radars.

30 Television

0.1" '

LEFT: Known as a "fishhook". this antenna enabled U. S.jammers to radiate the special "circularly polarized"jamming signal needed to counter enemy gun -layingradars equipped with "spinning dipole" antennas. CENTER:Circularly polarized search and jamming antenna covers thefrequency range 2,000 to 4,000 megacycles and transmitsand receives with equal effect on any polarization of radio

netron.- The physical size of the de-vice and its ability to dissipate theheat of operation are said to be theonly practical limiting factors.

Unlike radar, in which largeamounts of "pulse" power areachieved, the resnatron generates analternating current power output,hence can be modulated similarly toany other continuous -wave electronicgenerator."

It is made chiefly of copper, isthree feet high and a foot in diame-ter. Inside its envelope is some 50feet of copper tubing in which wateris pumped at high pressure for cool-ing purposes.

Ordinary vacuum tubes cannot hemade to amplify or generate wavesabove certain frequencies due to vari-ous losses, as well as the fact thatelectrons from the cathode are tooslow in transit between the elementsto support the very high frequencies.This happens when the time of pas-sage of the electrons from one ele-ment to another become an appre-ciable part of the time in which oneradio -frequency cycle takes place.

The men who designed the resna-Iron overcame this by separating thetube's input and output elements

waves. It is about 8" in diameter. RIGHT: The coneantenna is effective over the frequency range 1000 to3000 megacycles and points the way to postwar broad-band antennas for FM and Television. It served duringthe war as the antenna for search receivers for locatingand identifying enemy radars. These were developed byHarvard University Research Laboratory at Cambridge.

more than the conventional amountand applying an electron acceleratingvoltage. Two resonant chambers alsowere arranged -- one between oraround the cathode and the controlgrid; the other at the screen grid -plate anode end of the resnatron.

The power thus developed is trans-ferred from the plate through a co-axial conductor. thence through anexpanding area wave -guide which pro-jects the waves against a parabolicsurface, which beams them over thecountryside. Obviously, for televisionor FM broadcasting, an appropriatevideo -sound radiating surface wouldbe substituted for the parabolic sur-face. Many of the resnatrons auxil-iary operating circuits are inside theglass -copper envelope which is ex-pected to simplify its operation.

Known technically as the Sloan -Marshall resnatron, after its inven-tors, Dr. D. H. Sloan and Dr. L. C.Marshall, the huge device is said tobe more capable and efficient as aradio -frequency power generator attremendous frequencies than anyother system. This power is some-thing more than 1,000 times as greatas any other tube currently operatedon channels as high as 300 to 700

megacycles, where most engineers be-lieve television stations .will be exclu-sively channelled.

The basic idea came from Dr.Sloan, who was then at the Univer-sity of California. In 1941 he wasinvited to join the WestinghouseElectric Company research labora-tory at East Pittsburgh and perfectthe resnatron. and in 1942 the Officeof Research and Development ar-ranged with that company to buildthe tube for anti -radar purposes. Itwas applied to military uses by thetechnical experts at the HarvardRadio Research Laboratory at Cam-bridge.

Other Resonators-Micro-Wave Antennas

Many other antiradar devices weredeveloped by American engineers,largely the 800 experts concentratedat the Harvard Radio Research Lab-oratories in Cambridge. Followingare some exclusive pictures of reso-nators, and a variety of novel ultra-high -frequency transmitting and re-ceiving antennas which helped makethe Allied radar blitz so successfulthat the Axis gave up radar lest itbetray secret information and the

*This is an approximation of how it operates, based on available information at this time.

Decent her 31

Farnsworth antenna, above, can be rotated clockwise and counterclockwise andhas members which are extensible, allowing for proper oricome and tuning.

position and wavelengths of hiddenradar -gun -pointing equipment.

The very -high -frequency antennadevices resemble something out of ametal worker's nightmare, but theyworked in the anti -radar blitz againstthe Axis and will work in the peace-time capacity of intercepting wavesover very broad channels, withoutadjustment, or tuning. In general.such devices are said to be of effi-ciencies much higher than conven-tional doublets now used for tele-vision reception.

The captions under each picturedenote the wartime use of the de-vices and indicate the general fre-quency of operation.

ANTENNAThe problem of television recep-

tion has been approached in a novelway by engineers of the FarnsworthTelevision and Radio Corporation ofFort Wayne, Ind., who have devel-oped an antenna or doublet of theconventional type which, by meansof built-in motors and controls, thevideo fan rotates and extends or re-tracts from push-button controls onthe receiver. The device rotates thedoublet so that it electrically pointstoward the most favorable angl- ofreception, thus partially, at least, eli-minating ghost images. The doubletarms are coaxial or telescoping inconstruction, this permitting the armsto be moved in or out to tune to theware of the desired station. A trial

recently held i a mid -town NewYork hotel is said to have demon-strated the efficiency of the device.Such an antenna was mounted onthe roof and operated from a receiv-er in the building below. The an-tenna covers the television wavesfrom 461/2 to 117 megacycles. Thefrequency range, it was said, can beextended to 167 megacycle operationby the addition of more telescopingsections in the arms.

PATENTS

An improved cabinet design forcombination radio -television receiv-ers, several developments in the fieldof color television, and another at-tempt at providing three-dimensionaleffects are among patents recentlygranted by the United States PatentOffice to inventors of the industry.

Cabinet DesignGeorge Patterson,Jr., of Phila-

delphia, won No. 2,388,761 on No-vember 13 on a cabinet aimed athelping that almost forgotten man--the fellow who listens to a televisi mprogram as well as looks at it (appli-cation for patent March 30, 1944;six claims allowed, assigned to PhilcoRadio & Television Corporation,Philadelphia).

He comments a little caustically inhis patent that the general practicewithin the industry has been to sepa-rate the sound source. or loud speak-

er. from the picture screen. on thetheory prevailing among designersthat "sound is secondary to sight insuch an apparatus." Speakers thushave been put into any available lo-cation after the image screen hasbeen taken care of, with little regardto close association of the soundsource with the image.

To improve the impression thatsound actually is emanating fromthe images on the screen, this pa-tented design features a compact as-sembly of picture tube and loudspeaker, with the speaker positioneda little to one side and just behindthe tube. This self-contained unit canbe assembled easily, the inventor as-serts, with a hinged door providedon the speaker side of the unit topermit simple insertion or removalof the image tube. Surprisinglyenough, this arrangement has no sig-nificant effect on the necessary depthof the cabinet as a whole. The casingof the unit forms an acoustic horn tomake the sound appear to come di-rectly out of the television image.Color

Research scientists working on thecolor problem have been having afield day at the Patent Office re-cently. Here are the three most recentpatents in this field:

(1) Alfred N. Goldsmith, of NewYork City, received No. 2,389,039 onan improvement in a color televisiontransmitting system (application forpatent Dec. 30, 1943, 11 claims al-lowed, not assigned). In this set-up,means are provided whereby the in-tensity of television image signalsrepresentative of the different colorcomponents may be independentlyaltered in order to produce a desiredcolor balance in the television re-ceiver.

The inventor points out that if tele-vision image signals were at all timesdeveloped in their proper relative in-tensities for each of the color com-ponents, no correction of the relativesignal strength would be necessary.Trouble is, that they're not. Due tothe lack of linearity in light trans-mitting efficiency of the optical sys-tem of the entire color range, anddue to the lack of uniform color re-sponse in the pick-up tube, signal in-tensity varies considerably and anunbalanced color image results at thereceiver.

To modify and control these inten-sities, this patent offers a control po-tential which is applied to the controlelectrodes of the video amplifier

32 Television

tubes in the form of an automaticgain control potential. In combina-tion with this is a light responsveelement synchronized to the colordisc or drum, in which a photo-cathode receives light of the samecolor as that being projected on thepick-up tube. Thus a single videoamplifier channel is used in thetransmitter to amplify the colorcomponent signals, and the gain ofthe video amplifier may be sequen-tially altered according to the greateror lesser percentage of the variouscolor components. The system isworkable on familiar televisionequipment in which a rotating col )rfilter disc is synchronized and phase.'with respect to the deflection of dicathode ray beam in the televisionpick-up tube.

(2) George E. Sleeper, Jr., ofBerkeley, Calif., received No. 2,38:).-645 on November 27 on an improvedelectronic scanning device for colorsystems (application for patent Feb.5, 1943; four claims allowed, not as-signed) . In this apparatus, a singleelectron beam is provided for scan-ning a photoelectric screen. Betweenthe scanning device and the screen,an optical system is interposed withmeans for producing two or threeimages of the object, depending uponwhether two color filters or three areused. These color images then arecast upon separate areas of thephotoelectric screen. where the sig-nals are picked up and transmitted.

(3) George W. Huffnagle. Frye-

burg. Maine. won No. 2,389,979 onNovember 27 on a television systemfor transmitting images in their nat-ural colors (application for patentApril 14. 1942; nine claims allowed.assigned to Farnsworth Television &Radio Corporation). In this system.a photoemissive surface is providedwith means for forming an opticalimage on its face. The electron emis-sion from the surface is scanned. andthe images are picked up after theyhave passed through a color filterinterposed between the surface andhe ray beam. The image -forming

means comprise identical groups oflinear filter elements, each element ina group being adapted to pass lightof a different primary color.

Thus, during any frame period,the electron emission from each lineof the photoemissive surface is rep-resentative of the red. blue, or yellowcolor in the corresponding line ofthe optical image. The emission is

converted into trains of electrical sig-nals-each train representing a pri-mary color in a line of the image-and the filter is caused to oscillatethrough such an amplitude that filterelements are displaced sufficiently toanalyze each line as to the colors inthe groups of filter elements.

Viewing DeviceGeorge Zindel, Jr., of Elkins Park,

Pa.. won No. 2.388.203 on October30 on a novel viewing device or lightmask aimed at eliminating the hoodtype receiver design 1 patent appliedfor Sept. 10. 1942; two claims al-low ed. assigned to Philco Radio &Television Corporation 1. Objectionsto the old-style viewing hoods arefamiliar in the industry; in an effortto keep light out, they very oftenkept the customer cut, since onlyspectators directly in front of a re-ceiver could see the screen.

This patent covers a louver struc-ture formed of sheets of laminatedcellulose acetate plastic .060 inchthick. These sheets exclude extrane-

ous light by preventing its passagethrough the opaque leaves of thelouvers, thus permitting easy viewingfrom almost any angle.

Three -DimensionalNo. 2,388,170 was awarded to the

late Henry J. De N. McCollum, ofChicago, through his executrix, Mrs.Thelma McCollum, on a stereoscopicvision aparatus (application for pa-tent April 15, 1943; four claims al-low ed. not assigned). In this system.two television cameras are used intelevising a scene; objects are view edalternately by each camera, and aswitching device feeds these imagesalternately to a transmitter. At thereceiver, the separate image signalsare passed through a flexible cableleading to two small cathode raytubes (about one inch in diameter)which are supported in a spectacleframe with conventional earpiecesand nosepiece. A pair of convexmagnifying lenses enlarge the imagein the viewer's eyes, and permitscomfortable enjoyment of thr'te-di-nensional television.

Advertising (continued from page 281

WPTZ (Philco). Philadelphia:\ tlantic Refining Company, weekly

football games, and Waltham WatchCo., Time Signals, through N. W.AN er & Son. Inc.. New York.

WNBT (NBC), New York:Bolo% a \\ atoll Co.. \. 1 .. nine

signals through the Biow Co., N. Y.;Curtis Publishing Co., football games,through MacFarland Aveyard; ElginWatch Co., time signals through J.Walter Thompson Co., N. Y.; Fire-stone Tire & Rubber Co., Akron."Voice of Firestone-Televues"; travelfilms through Sweeney & James Co.,Cleveland; Gillette Safety Razor Co..Boston; "The Cavalcade of Sports-.remote boxing matches throughMaxon, Inc., Detroit; Pan AnericanAirways System, N. Y., "Wings ofDemocracy", live talent and travelfilms through J. Walter Thompson

Co.. N. Y.: RCA Victor Division ofRCA. N. Y., "The World in YourHome", film program through J.Walter Thompson Co.. N. Y.; U. S.Rubber Co.. Keds. live and film"Friday Night Quarterback" throughCampbell -Ewald Co., New York:Waltham Watch Co.. Waltham. Mass.,film and time through N. W. Ayer& Son. Inc.. N. Y.

WCBW (CBS), New York:Benrus Watch Co., N. Y., time

signals through Young & Rubicam,N. Y.; Lever Brothers. "Aunt Jenny"through Ruthrauff & Ryan.

W6XYZ (TelevisionProductions), Hollywood:Shell Oil Co., "Comfort and Lux.

ury" program, through J. WalterThompson Agency; J. W. RobinsonCompany, Christmas toys; Des-mond's. gifts for men.

December 33

PROGRAMMING

Here's A Way toSustain Interest

Problem common to both radioand television has been that of sus-taining audience interest from oneprogram to another. Klaus Lands -berg, station director at W6XYZ, isdoing interesting experimental workin letting each program build audi-ence interest in the program imme-

designer and femcee of the fashionparade, came up with the right hatfor Barbara-and one which suitedDick. Couple then went back to theclub and acted as emcees for thevariety show.

Thus by centering audience atten-tion on the comic -romantic problemof Dick and Barbara, the two showswere given a connecting link andinterest was sustained by making

Close-up shot of Flash -gun Casey, hero of "Crime Photographer", opens up thewho-dunit program over WCBW. Show is adapted from radio serial.

diately following. Many ways havebeen found to obtain continuity be-tween two programs of a totally dif-ferent type. Typical example was thetechnique used in tying a recent"Fashion Guide" program into the"Hits and Bits" variety show whichfollowed. (Picture story on oppositepage.)

Program opens with Dick andBarbara entering a night club, thesetting for the "Hits and Bits" show.Things went along smoothly untilDick asked her to dance and her hatdid unpleasant things to his face.Ensuing conversation sent them insearch of a more suitable hat-whichled right into the "Fashion Guide"program. They sat and watched thefashion show and finally Edith Head,

them the focal characters in twoentirely dissimilar formats.

WRGB celebrated their sixth an-niversary with a special 45 -minutevariety show. Program employed twosets - one a small living room, andthe other a cut-out of a birthday cakewith six candles. Continuity scenestook place in the studio audiencesection, centering around WilliamShakespeare who crashed the studiogate and seated himself next to atalkative but ungrammatical girl andher escort. Show was really a revuewith all acts original and performedby the staff. Program included songparodies, take -offs of station activi-ties, and caricatures of personnelwhom the home audience wouldrecognize. Connecting link between

the acts was furnished by the girlwho kept Shakespeare informed asto what was going on before thecameras, who the performers wereand what their duties were. Most ofShakespeare's dialogue was takenfrom his works.

Stage Adaptations MustConsider Video Limitations

WNBT, continuing their experi-ments with full length plays, pre-sented George S. Kaufman's "YouCan't Take It With You," which wasa riotious hit on Broadway and thescreen. As television fare it missedthe boat, due primarily to the cameralimitations of video in its presentform.

The entire play was set in the liv-ing room, which sounds simpleenough, but much of the slap happymood of the comedy depended ondetails, like seeing Grandpa's petsnakes in the corner, Ed's printingpress, etc. And the tele translationjust wasn't clear enough in pickingup these details. Stage setting pre-sented a problem for so much hadto be included as a necessary part ofthe play and, in addition, three en-trances had to be provided. Howeverthese were well handled, permittingexits and entrances without blocking.

The play had a cast of 16 and itstheme centered around a family whodid as it wanted to, without anythought of convention. With Pennywriting plays and later switchingback to painting, with Essie pirouet-ting around in her constant balletpracticing, with the Russian balletteacher condemning everything-anddoing it with gestures; with Pop andhis helper making fireworks andminiature explosions going off everyfew minutes; and with Grandpa sit-ting back for 35 years (because hegot tired of working) and spendinghis time going to zoos and com-mencements, comedy called for quickaction and an overall view of thewhole set. For only by getting a com-posite effect of the whole family do-ing something different at the same

34 Television

\4>

After some discussion, they leave the clubin search of a more suitable hat for dancing.This leads right into the "Fashion Guide"program and they are interested spectatorsas Edith Head and her bevy of Paramountstarlets stage their fashion parade. The righthat is finally decided upon and the tworeturn to the club for the "Hits and Bits"number. Their comments on the variousacts make them the emcees of the program.

To ststain interns fram ore pro-gram to another, Dick and his es -con furnish the cainectirg linkbetwen W6XYZ's 'Fashion Guide"and "Hits and Bias" varlet., show.At left, they are shows in a nightclub, -he setting for "aka and Bits".They are gettin4 akng fire untilthey start to danm and milady'shat 3ushes Dirk's face out ofshaft( a bit, which is rt to ibis liking.

December 35

time, could the most be gotten out ofthe comedy.

One of the most hilarious moments of the play was completelsmuffed in the video version. Penns.complete in her art costume beforean easel, while her "model", dressedin appropriate costume posed as adiscus player; Essie doing her end-less ballet dance with the Russianexecuting a few of his own steps; Edat the printing press; an inebriatedactress asleep on the sofa. All this -with the folks, who were to be im-pressed on the following night, ar-riving a day too soon for dinner. Todo justice to this, a full shot of thewhole scene should have been takenso that the audience could have got-ten the effect which must have hit theunexpected guests full in the face.Camera limitations prevented thisand only the shocked expressions ofthe socialites were picked up. Mostof the comedy was lost as a result.

Another thing that television pro-ducers must take into considerationin the selection of a script is thatnational humor changes. Ten yearsago it was smart to poke fun atRussia. Right now, whatever per-sonal feeling is toward Russia. itisn't one of ridicule and this part ofthe comedy hit a false note. The ex-pression "confidentially it stinks"

also ran the cycle of popular usage.

In Stadium or StudioSport Fans React the Same

WNBT's pick-up of the Army -Navy game packed 150 into a studioat Radio City for the first Phila-delphia -New York relay-and allthey needed to complete the stadiumfootball atmosphere were hot-dogvenders in the aisles and some chillwind effects blowing around theroom. Particularly significant to thefuture of television was audience re-action. The studio crowd was asvocal as the stadium crowd. Interest-ing to note were the eloquent sighsemitted when the transmission failedfor a few minutes in the secondquarter. Although the announcer wacgiving a play-by-play description,exactly similar to radio technique.audience felt as if they were missingsomething. This despite the fact thatfor years they had been satisfied tolisten to football games. Now thatthey could see it too, a few minutesbreak -down seemed a major tragedy.

Among the other television firstschalked up in the coverage were theuse of three cameras. including thenew Image Orthicon, mounted with a191/2" lens to give tele-photo cover-age. In addition. a 40" focal lengthlens was mounted on a regular

orthicon camera to bring closeuppictures to the viewers.

Pick-up which started at 12:00showed the pre -game ceremonies be-fore the football classic got under-way. Camera action was excellent.except for T -formation plays whichsometimes staved in the backfield in-stead of following the ball. Explana-tion for this, according to BurkeCrotty, director of NBC television'sfield pick-ups, was the 150 lb. weightof the 40" lens. This made it difficultto move the close-up camera quicklyenough to follow the play.

W6XYZ's switch from amateur toprofessional boxing bouts and wrest-ling matches on alternate Fridays hasincreased the already high appeal ofthese programs. A rather large studioaudience, admitted for these athleticevents. is allowed to go "wild" and byso doing furnishes proper ringsideatmosphere. In the station's opinion.the staging of special events. with theproper lighting, mobility of camerasand other studio facilities, showsmany advantages over outside pick-up.

Mobile Pick -UpsDue for Expansion

With the opening of basketball andhockey. the winter sports attractionsat Madison Square Garden. both

"The Television Christmas Shopper" identifies he' self via a television screen to WNBT's viewers. Forhandy household gifts, scene is set in kitchen, with cameras coming in for a close-up of the item in use.

3 I; Tele.ri

WNBT and WCBW have made ar-rangements to pick them up.WNBT'smobile sports coverage has been Nellestablished, but this is WCBW's firstentry into the field. Outside pick-upequipment, which was delivered toCBS at the start of the war, neverhad a chance to be used and was dis-mantled for experimental work.Equipment has now been put inshape again and with the return ofBob Edge from the Coast Guard,WCBW plans active mobile work.However the networks are trying totie up their sports program and arebusy presenting their package to po-tential sponsors.

WBKB is also stepping into thesports and special events field. Fiveyear contract was recently signedwith the Chicago Coliseum for exclu-sive tele coverage. Events scheduledinclude basketball tourneys, iceshows, prize fights, wrestling matchesand roller skating derbies.

Public Service FeatureHas Commercial Format

WNBT's "Television ChristmasShopper", while debuting as a pub-lic service program, is a natural com-mercial show. Designed to give view-ers tips on gift items, program,shown the four Sunday nights pre-ceding Christmas, employed an ex-perienced shopper to make the selec-tions.

Show opened with a close-up ofSanta Claus wearily wondering whatto give people, then shot to a telescreen, where the Television Christ.mas Shopper introduced herself.Camera next picked up a diningroom setting. while the shopper, nowoff -screen, identified the variousitems, gave the name of the storeand the approximate price. Close-upsof the items were shown. Demonstra-tion technique was used in the kit-chen setting to show various house-hold gadgets. Boudoir setting wasbackground for milady's gift selec-tions, with the young girl pantomin-ing the use of various items. Pro-gram concluded with a pick-up ofSanta Claus beaming happily andthe return of the Television Shopperto announce next week's selections.

Unusual choice of gifts kept theaudience interested. Exact priceswere not given-"under $10, about$20", or "very reasonable" were thequotations used instead, on thetheory that people do not rememberexact prices. However, merchandiserswill probably debate this point.

Family of three provide the comedy situations in the "Wife Saver", ABC's weeklypresentation over WRCB. Here Alan Prescott is saving the situation by showingshort cuts in cake baking, as the harassed husband gives up the whole idea.

Newspaper ads use exact prices andpeople remember them when they goto buy.

Programming ExperimentsRun Gamut of Techniques

WCBW continued their series ofvisual designs as rhythmic accom-paniment to music with the presenta-tion of "Inferno". Modern Russianmusical excerpts from Prokofieff'scantata "Alexander Nevsky", Mos-soloff's "Soviet Steel Foundry", andparts of Shostakovich's symphonieswere synchronized with black andwhite designs by CBS televisionartist. Background narration wasPoe's, "The Pit and the Pendulum."Paul Belanger, originator and ar-ranger of the program, was director.

ABC's new weekly series overWRGB is an adaptation of AlanPrescott's radio show, "The WifeSaver". Format includes a family ofthree with the handy emcee step-ping in at the right time to show theeasiest way out of domestic prob-lems. Although the household hintsare presented in an amusing and en-tertaining fashion, all of them centeraround genuine short cuts to house-keeping efficiency. Most of the dem-onstration is done in pantomine withnarrative by Allan Prescott inte-grated into situations.

WCBW is continuing the serialexperiment. "Three Houses" whichthey started in October. Originallypresented dime times in one week.

the program has now been put on aweekly basis. Action revolves aroundincidents in the daily lives of threefamilies in neighboring houses. Sus-pense element will be injected at theend of each episode to sustain interest.

Christmas AttractionsIIC is planning a special 2 -hour

Christmas program over WRGB onChristmas Eve. Format will be aparty for under -privileged kids, com-plete with Santa Claus and gifts.While details have not been com-pletely worked out, kids will proba-bly provide their own entertainment,with the most talented encouraged toget up and perform. Most promisingkid will be chosen to act as emcee.Also in the Yuletide parade is IreneWicker with her version of Dicken's"Christmas Carol". "King's RecordShop" will play several familiarChristmas carols and the Christmasnote will be injected into the AllanPrescott "Wife Saver" program.

WNBT started their Christmasprogramming early in Decemberwith Christmas carols and appro-priate slides prefacing the start oftheir shows. Special Christmas filmsand Christmas plays are in theworks. climaxing on Christmas Evewith a seasonal operatic productionby Dr. Herbert Graf.

WCBW will hold a party for kidson Christmas night, under the aus-pices of the Police Athletic League.

December 37

Props and Paints

WITH the sense of realness andactuality that the public associ-

ates with television broadcasts, alsocomes the demand for that samerealistic touch to be carried out intelevision settings. Because of theseaudience reaction factors combinedwith the close-up technique necessaryin television, Robert J. Wade, NBCtelevision scenic designer, foreseesthe development of entirely differentmethods of decorating televisionbackgrounds, rather than an adapta-tion of the scene painting techniquesused in theatrical settings.

On the stage, details are broadlyhandled in order to carry from adistance and some areas are pur-posely roughened in texture or incolor treatment to create atmosphericeffect. Mouldings and architecturaltrim are handled with broad paintstrokes and, in general, every ef-fort is made to avoid a photographiceffect.

In television, perspective paintingis not very effective unless a hazy.out -of -focus background is deliberate-ly sought. Even then, a soft. photo-graphic technique in painting getsbetter results. Moreover. in shotswhere utter realism is necessary. theconventional drop is bound to lookartificial. As on the stage. interiorsare easier to handle than exteriorsbecause the actual quality of fre.t-coed, tinted or paper walls. panels.doors, etc. can be more easilyachieved.

In deciding the background_ treat-ment and the most effective design-ing techniques, the type of programand the wanted televised effect mustbe carefully considered. Mr. Wade'sexperience shows that some programslend themselves very well to sug-gestive settings, while others requirea more realistic treatment.

Suggestive SettingsVariety, operas, ballets and nwsi-

cal acts, where a background is ad-mittedly non-realistic, lend them-selves well to abstract decorativepainting. Avoiding both subtle tonesand black shadows, the artist maypaint suggestive backgrounds in fullvalues.

A Russian dancer, for example.might appear before a 10' x 14' droppainted in stylistic treatment (distort-ed domes, a village fair, or whatever

seemed appropriate, amusing or in-dicative). 'the width allows sufficientroom for panning with the dancer. Asimilar backing, treated with apseudo -mystic design, would make agood setting for a magician.

Building this type set does notmean special carpentry, and carry-ing it out requires only paintingmaterials and the artist's time. Butabstract backings, even in light andshadow treatments, are probably ef-fective only for short numbers, foratmospheric prologues or for acts ofvaudeville length.

The Amusing TouchComedy acts, children's shows and

other similar programs tie in wellwith cartoon sets but too frequentuse may cause it to los? piquancyand its air of informality. For ashort juggling act, fanciful balls. In-dian clubs, etc. tossing around inmid-air, might be an amusing set.Familiar scenes of rustic yodellingand "hay -seed" fun would make agood backing for a hill -billy number.

'Technically, a cartoon backing con-sists of a hastily drat n subject. inkedin with black lines on a light toneddrop. After a design is once estab-lished, a minimum of shop time inexecution is required es comparedwith the time needed to complete aset in full values. A cartoon drop,measuring about 12' x 15'. reduceseffectively on the kinescope - oftenlosing some of its original contrastwith surprisingly good results.

LimitationsDecorative and cartoon painting

may take the place of the cutoutplaced before a dark cyclorama -a device long used on the stage butimpractical for video production.While the maximum amount of ef-fect was obtained with a minimumof expense and effort. the black voidsurrounding say a cutout of profilecolumns. houses or foliages. wouldbe difficult. if not impossible, to lightin television.

However the painted backdrop,as expressed in the abstract draw-ing and cartoon sets, is two-dimen-sional and as such is limited tospecialized programs.

Realistic BackgroundsDramatic sketches, televised plays

and operas, in which realism is in-dicated, call for realistic back-grounds - and mouldings, panels,and doors and architectural trimmust be three dimensional to seemreal and solid. In a television dra-matic sketch the whole set, unlessit is a very small one, is never seenin its entirety at one time, and us-ually the parts shown are revealedin some detail. This close-up, let'ssay, is in direct contrast to theatrestaging. There, distance from thestage aids illusion, and the spectatorsecs the entire scene at one time,diffused in colored light which psy-chologically or optically dulls his vi-sion.

In Mr. Wade's opinion. stage sets.as such, will never be right or ade-quate because television scenery re-quires a heightening in light andshadow that is difficult to achieve ona painted plane surface.

Time And Money SaversRushing to get sets finished is

common in all theatrical work, butthe tempo must be even faster in tele-vision. Realizing that flat -coat paint-ing may be done fairly quickly butthat construction moves much moreslowly. N. Ray Kelly. Manager ofProduction Facilities at NBC, hasdevised scenic elements to replace thestandard "wing" of the theatre. It iseasy to understand the time andlabor saved when the wall units ofa rough -plastered tavern may bechanged in character by the additionof a coat of paint, of real or simu-lated wallpaper. or of fabric panelsto become parts of other settings.And there is real economy in stock-ing various types of architecturalunits that are adapted mechanicallyto such frequently used wall ele-ments as doors. windows, fireplaces.steps and stairs, French doors, book-cases and so on-especially if theseunits are interchangeable and inter-locking.

The NBC elements (walls) differfrom their stage prototypes in severalways - the familiar canvas cover-ing has been replaced by a heaviersheathing designed to permit sub-stantial superficial decoration andsurface construction without the ad-dition of extra battens and bracesrequired by the conventional. fabric -covered wing.

Hundreds of possible interior ar-rangements may be designed withinterlocking unite and elements. Withingenuity and added construction,

38 Television

many street and partial exteriors, aswell as many purely abstract back-grounds for fashion shows and mu-sical numbers, may also be puttogether.

Personality TouchesBut making a room out of a series

of scenic units and giving it per-sonality - whether it be the infor-mal character of a middle-class liv-ing room for a video serial or theair of formality needed for a draw-ing room in a historical sketch -requires a lot more skill than merelypushing interlocking units into place.Much of this depends upon the floorplan and the decorative scheme. Eachroom must be suitably and appro-priately furnished, with the rightdraperies, wall brackets, accessories,etc.. in order to provide the neces-sary color and atmosphere to givelife to the script. To arrange allthese various elements into an at-tractive, expressive and workablesetting in two, three or four daysrequires a most closely integratedand efficient operating system.

Comparative CostsAre building and heavy construc-

tion always necessary? No -- forrealistic sets may be painted, es-pecially when all treatments and de-signs are used that would, in actualuse, be done in paint, stencil, wall-paper or fresco.

At the outset, it is more expensiveto make up a set dressed with ar-chitectural trim, specially cut mould-ings and panels, than to devise apainted theatrical wing (even whensolidly constructed elements are usedas the base).

However, in the long run, thisinitial cost may be equalized for thesolid elements may be used overand over, recovered with mouldings,papier mache ornaments and so onand may be handled and stored ina manner that would be impracticalfor fabric "flats."

As To The Future . . .

"During the present," concludesMr. Wade, "for reasons of expedi-ency, television sets may borrowmuch from contemporary stagecraft,but the results of experiments andthe creation of new and larger studiosmay cause production artists to es-chew many of the techniques of thepast"

The above photograph the scale model which was constructed for thepresentation of the opera .1.,1 Boheme." This was produced over WNBT.

Period of the late nineteenth century is used in this authentic set of StephenFoster's "Swanee River." Interlocking construction unit is used for scene.

Same interlocking construction units are used for this modern living roominterior, which was the background for the last episode of "The Black Angel."

December 39

WASHINGTON

Rules Governing Television Broadcast Stations

With final FCC allocations for television channels out of the way, the first

industry hearings in cities where there are more applicants than channels

will be held in Washington from Jan. 21st to Feb. 1st. Minimum operating

schedule has been set at 28 hours a week, with chain broadcasting regulations

made applicable to television. Following is the complete text of the FCC rules.

Classification of Television Stations and Allocations of Frequencies

§ 3.601 Numerical designation of television channels The chan-nels or frequency bands set forth below are available for tele-vision broadcast stations.

Channel No. Megacycles Channel No. Megacycles1 44-50 7 174.1802 54-60 8 180.1863 60.66 9 186-1924 66.72 10 192-1985 76.82 11 198-2046 82.88 12 204-210

13 210.216

§ 3.602 Sharing of Television Channels.-Channels 1 through 5and 7 through 13 are available for assignment to radio servicesother than television upon a showing that no mutual interferencewill result.

§3.603. Community stations.-(a) A Community station is de-signed primarily for rendering service to the smaller metropolitandistricts or principal cities. Television channel No. 1 is assignedexclusively for Community stations. Channels 2 to 13, inclusive.can also be used for Community stations provided such use com-plies with Section 3.606.

(b) The power of a Community station may not exceed aneffective radiated peak power of 1 kilowatt. The maximum an-tenna height for such stations shall be 500 feet above the averageterrain as determined by methods prescribed in the Standards ofGood Engineering Practice concerning Television Broadcast Sta-tions.

(c) The main studio of a Community station shall be locatedin the city or town served and the transmitter shall be located asas near the center of the city as practicable.

§ 3.604 Metropolitan stations.-Metropolitan stations may beassigned to television channels 2 through 13, both inclusive. Theyare designed primarily to render service to a single metropolitandistrict or a principal city and to the rural area surrounding suchmetropolitan district or principal city.

(b) Metropolitan stations are limited to a maximum of 50 kilo-watts effective radiated peak power with antenna having a heightof 500 feet above the average terrain, as determined by the meth-ods prescribed in Standards of Good Engineering Practice con-cerning Television Broadcast Stations. Whether higher antennaheights are available, they should be used but in such cases theCommission may authorize less than 50 kilowatts effective radi-ated peak power so that the coverage (within 500 uv/m contour)shall be substantially similar to that which would be provided by50 kilowatts effective radiated peak power and a 500 foot antenna.

\\ here it is shuN n that all all tviiiia height of 500 feet 1, not avail-able, the Commission may authorize the use of a lower height an-tenna but will not permit an increase in radiated power in excessof 50 kilowatts. The service area of Metropolitan stations will notbe protected beyond the 5000 uv/m contour and such stations willbe located in such a manner as to insure, insofar as possible, amaximum of television to all listeners, whether urban orrural.

(c) The main studio for Metropolitan stations shall be locatedin the city or metropolitan district with which the station is asso-ciated and the transmitter should be located so as to provide themaximum service to the city or metropolitan district served.

§ 3.605 Rural stations.-(a) Licensees of Metropolitan stationsor applicants who desire to qualify as licensees of Rural stationsmust make a special showing to the Commission that they proposeto serve an area more extensive than that served by a Metro-politan station and that the additional area proposed to be servedis predominantly rural in character. In addition, a showing mustbe made that such use of the channel will not cause objectionableinterference to other television stations or prevent the assignmentof other television stations where there is reasonable evidence ofthe probability of such station being located in the future.

(b) Channels 2 through 13 are available for assignment toRural stations. The service area of Rural stations will be deter-mined by the Commission.

(c) The main studio of Rural stations shall be located withinthe 500 uv/m contour.

§ 3.606 Table Showing Allocation of Television Channels toMetropolitan Districts in the United States.-(a) The table belowsets forth the channels which are available for the areas indicated.The table below will be revised from time to time depending uponthe demand for television stations which may exist in the variouscities. Where it is desired to use a different channel in any sucharea, or to use one of the channels in another area conflictingtherewith, it must be shown that public interest, convenience, ornecessity will be better served thereby than by the allocation setforth in the table.

(b) Only the first 140 metropolitan districts are listed in thetable below. Stations in other metropolitan or city areas not listedin the table will not be assigned closer than 150 miles on the samechannel or 75 miles on adjacent channels, except upon an ade-quate showing that public interest, convenience, or necessitywould be better served thereby or that by using lower power or byother means equivalent protection is provided.

(c) Persons desiring to enter into a voluntary sharing arrange-ment of a television channel may file application therefor withthe Commission pursuant to the provisions of Section 3.661(c).

40 Television

Table Showing Allocation of Television Channels ToMetropolitan Districts in The United States

MetropolitanIt i vt r ict

11 .5. SalesCerso. 1940) Rank

Akron 35AlbansSchenectads 23Troy

{AllentownBethlehemEudora

13

Altoona ___-____.__ IIIAmarillo _ 136Asheville 1:12

Atlanta 25Atlantic City 83

Austin 106

Baltimore 13I Beaumont 901 Port Arum -

Binghamton 75P not login. m 12Boston 5Bridgeport, C. 53I Buffalo 14/ Niagara

Canton, Ohio 63Cedar Rapid. 115Cha elenton. S. I . 127Charlentem W. N .1. 88

Charlotte 99Chattanooga 76

2

16Cleveland 9Columbia 117Columbus, Ga. 133Columbus, Ohio 29Carport Christi..................................121

27

1

DavenportRock InlandMoline

67

Dayton 41122

Denver 26Des Moines . 59

6I Duluth 72

Superior

El Paso 105Erie _ 95Evansville, Ind. 93

Fall Riser 55New Bedford

Flint - --.--.-- ... 6481

Fort Worth . - '51

20

Fresno _ 79

Galveston . 131

C born .. 130

Middletown70

Houston 21J Huntington, W. Va. .... .. 92

New Britain

1 Ashland, K y.

Ind ianapolin 24

Jackson _ 128Jacksonville 66Johnstown, Pa. .. 100

Kalamazoo _ 112Kansas City, Mo. ______ . 17

i Kansas City, Kans.Knoxville 87

Lancaster _________._____ 91Lansing 94

Little Rock 98

Louisville..................13LowellLawrenceHaverhill

15

Popu-lation

ChannelNos.

Metro.politen

Total Station,Met-co- Corn-pal- mu.it... nit?

MetropolitanDistrict

(U.S.C 1940)

SalesRank

Popu-latlon

I hannelNo..

Metro-politon

TotalMet -ro-poi-itiiii

Station.

Com.mu.pity

319,705 11 I - Macon 137 71,830 1,7.10 3Madison 101 78,349 9 1

131,575 2,1,7.9.11 5 - Manchester 118 81.932 1 1Memphis 37 332,477 2,4.5,7,9 SMiami 38 250,537 2.4.5.7 4

325,142 8 1 Milwaukee 15 790,336 3,6,8,10 4Minneapolis II 911,077 2,4.5,7,9 5

114,094 9 1 ) St. Paul53.463 2,4,5.7 4 Mobile 119 114,906 3,5,9,11 476,324 5,7,12 :1 Montgomery 126 93,697 6,10 2

442,294 2,5,8,11 4100.096 8 1 Nashville 56 241,769 4,5,7,9 487,809 6.12 2 New Haven 39 308,228 6 1

106,193 0,10,12 3 New Orleans 31 510.030 2,4.6,7,10 5York1,046,692 2,11,13 3

{NewNortheaste 1 11,690,520 2.4,5.7,9,11,13 7138,608 3,6,8,10 1 New JerseyNorfolk

115.156 12 1 Portsmouth 47 330,396 4,7,11,13 4407.851 1,9,13 3_ ____

Newport News2,350,514 2,1,7,9,13 5

216,621 1 1 Oklahoma City 52 221,229 2,4,5,9857,719 1,7,9,13 440 287.269 3.6,7

I Council Bluffs200,352 1 1

7:1,219 7.11 2 69 162,566 3,6,12 398.711 7.10,13 3 4 2,898.644 3,6,10,12 4

136,332 7,11,13 3 Phoenix 84 121,828 2,4,5,7 4112,986 3,9,11 3 Pittsburgh 8 1,994,060 3,6,8,10 4193.215 3,6,10.12 4 Portland, Maine 89 106,566 3,8 2

4.499,126 2,4.5,7,9.11,13 7 Portland, Oreg. -. -_ 22 106,406 3,6,8,10,12 5

789,309 2,4,7,11 4 Providence, R. I. _______ 18 711.500 11 1

1,214,943 2,4,5,7,9 5 Pueblo 140 62,039 3,6,8,10 489,555 2.4.8 392,478

365,79670,677

3.123,6,8,103,6,8,10

24

4

RacineKenosha

Reading

97

73

135,075

175,355245,674

1

53,6,8,10 4

1

1

376.518 4,8,12 :1 110,593 5,9,12 3Rochester 28 411,970 2,6,11 3

171,995 2,4,5,9 Rockford _ 102 105,259 12 1

271,513 5,13 2 Sacramento 54 158,999 3,6,10 3________65.764 2 I 77 153,388 3,8,13 3

384,372 2.4,5,7,9 5 I Bay City183.973 2,4,5,9 4 St. Joseph 129

1086,991 13 1

St. Louis2,295,867 2.4,5.7,9 5 1,367,977 4,5,7,9,13 5____Salt Lake City 58157,098 3,6,8,10 l 204.488 2,4,5,7,9 5San Antonio SO 319.010 2.4.5.7,9 5

69,683 4,7 2 San Diego 49 256,268 3,6,8,10 4_______San Francisco -

115,801 2,4,5,7 41,428,525 2,4,5,7,9,11 6

I Oakland134,039 12 I San Jose 78 129,367 13 1141,614 2,11 2 Savannah 114 117,970 3,5,9,11 4

1 Scranton 30 629,581 11 1 1 1272,648 , 1 1 1 Wilkes-Barre452,639 2,5,7,11 1188,554 11 1 112.225 2,4.6,8 1134,385 2.4.7,9 4City87,791 4,9,11,13207,677 2,5,10 3 South Bend _ 80 147,022 1 1502.193 2.4.5,7 4pokane141,370 2.1.5,7,9 5

9.11.13 3 Springfield. Ill. 103 89,484 8.10 297,504 7,9 2 1 Springfield, Man, . .12 :191.623 3 1 1 1I Holyoke71,677 2,10 2 Springfield. Mo. 131 70,514 2,4.5,9 4209,873 9 1

77.406 1 173.055 Stockton 108 79,337 8 1

112,686 8 1 Syracuse ____ .. .. 46 258,352 5,8,10 3

173,367510,397170,979

8,10

2.1,5.75

2

S

1

Tacoma "4 156,018209,693

4,9,132,4,5,7

34Tampa 61

St. Petersburg

Terre Haute ____-_Toledo

11634

83,370 4 1

455,357 3,6,8,10.12 5 341,663 13 1Topeka 123

88,003 2,4,5,7 477,749

200,1287,11

1

21Trenton 60

195,619 2,4,6,8 4 Tulsa 65 188,562 3,6,8,10 4151,781 13 1

I Utica 68 197,128 3,13 277,213 3 1 I Rome634,093 2.1.5,9 4

138 71,114 3,6,9.11 4151,829 2,4,8.11 4 Washington 12 907,816 4,5,7,9 4Waterbury.......85 144,822 12 1132,027 4 1 Waterloo 120 67,050 3,6,13 3110,356 6 1 Wheeling 82 196,340 12 188,191 10,12 286 127,308 2,4,5,9 4126,754 3,6,8,10 1

Wilmington 62 188,974 7 12,904,596 2,4.5.7.9.11.13 7 Winston-Salem ___-____ 124 109,833 6,8 2434,408 5,9 2 Worcester 41 306,194 5 1

331,969 6 1York 113 92,627 1 1

372,428 13 1

DecemberMl

Rules Governing Administrative Procedure

§ 3.611 Application for television stations. Each applicant fora construction permit for a new television broadcast station,change in facilities of any existing television broadcast station, ortelevision station license or modification of license shall file withthe Commission in Washington, D. C., three copies of applicationson the appropriate form designated by the Commission and alike number of exhibits and other papers incorporated therein andmade a part thereof. Only the original copy need be sworn to. Ifthe application is for a construction permit for a new televisionstation, Form FCC No. 330 should be filed; for a television sta-tion license Form FCC No. 331 should be filed; and for modifi-cation of a television station license or for change in facilities ofan existing television station, Form FCC No. 333 should be filed.

§ 3.612 Full disclosures.-Each application shall contain fulland complete disclosures with regard to the real party or partiesin interest, and their legal, technical, financial, and other qualifi-cations, and as to all matters and things required to be disclosedby the application forms.

§ 3.613 Installation or removal of apparatus.-Applications forconstruction permit or modification thereof, involving removal ofexisting transmitting apparatus and/or installation of new trans-mitting apparatus, shall be filed at least 60 days prior to thecontemplated removal and/or installation.

§ 3.614 Period of construction.-Each construction permit willspecify a maximum of 60 days from the date of granting thereotas the time within which construction of the station shall begin.and a maximum of six months thereafter as the time within whichconstruction shall be completed and the station ready for opera-tion, unless otherwise determined by the Commission upon propershowing in any particular case.

§ 3.615 Forfeiture of construction permits: extension of time.-(a) A construction permit shall be automatically forefeited if thestation is not ready for operation within the same specified thereinor within such further time as the Commission may have allowedfor completion, and a notation of the forfeiture of any construc-tion permit under this provision will be placed in the records ofthe Commission as of the expiration date.

(b) An application (Form FCC No. 7011 for extension of timewithin which to construct a station shall be filed at least thirtydays prior to the expiration date of such permit if the facts sup-porting such application for extension are known to the applicantin time to permit such filing. In other cases such applications willbe accepted upon a showing satisfactory to the Commission of

sufficient reasons for filing within less than thirty days prior tothe expiration date. Such applications will be granted upon aspecific and detailed showing that the failure to complete was dueto causes not under the control of the grantee, or upon a specificand detailed showing of other matters sufficient to justify theextension.

§ 3.616 Equipment tests and proof of performance. ---(a) Uponcompletion of construction of a television station in exact accord-ance with the terms of the construction permit, the technical pro-visions of the application therefor and the rules and regulationsand standards of good engineering practice governing televisionstations and prior to filing of application for license. the permitteeis authorized to test the equipment for a period not to exceed 90days: Provided, that the inspector in charge of the district inwhich the station is located and the Commission are notified 2days in advance of the beginning of tests.

(b) The Commission may notify the permittee to conduct notests or may cancel, suspend, or change the date of beginning forthe period of such tests as and when such action may appear tobe in the public interest. convenience, and necessity.

(c) Within the 90 -day period prescribed by this section forequipment tests, field intensity measurements in accordance withthe methods prescribed in the Standards of Good EngineeringPractice Concerning Television Broadcast Stations shall be sub-mitted to the Commission. The Commission may grant extensionsof time upon showing of reasonable need therefor.

§ 3.617 Program tests.-(a) When construction and equipmenttests are completed in exact accordance with the terms of theconstruction permit. the technical provisions of the applicationtherefor. and the rules and regulations and standards of good

engineering practice go%eining television stations, and after anapplication for station license has been filed with the Commissionshowing the equipment to be in satisfactory operating condition,the permittee is authorized to conduct program tests in exactaccordance with the terms of the construction permit for a periodnot to exceed 30 days: Provided, That the inspector in charge ofthe district in which the station is located and the Commissionare notified 2 days in advance of the beginning of such tests.

I b) The Commission reserves the right to cancel such tests orsuspend, or change the date of beginning for the period of suchtests as and when such action may appear to be in the publicinterest, convenience, and necessity by notifying the permittee.

re) The authorization for tests embodied in this section orSection 3.616 shall not be construed as constituting a license tooperate but as a necessary part of the construction.

§ 3.618 Normal license period.-All television broadcast stationlicenses will be issued so as to expire at the hour of 3 a.m. E.S.T.and will be issued for a normal license period of 1 year.

§ 3.619 License, simultaneous modification and renewal. -Whenan application is granted by the Commission necessitating theissuance of a modified license less than 60 days prior to theexpiration date of the license sought to be modified, and an appli-cation for renewal of said license is granted subsequent or priorthereto (but within 30 days of expiration of the present license)the modified license as well as the renewal license shall be issuedto conform to the combined action of the Commission.

§ 3.620 Renewal of license.-(a) Unless otherwise directed bythe Commission, each application for renewal of a television sta-tion license shall be filed at least 60 days prior to the expirationdate of the license sought to be renewed (Form FCC No. 3111.No application for renewal of license of a television broadcast sta-tion will be considered unless there is on file with the Commis-sion, the information currently required by Sections 1.301-1.301.reference to which by date and file number shall be included inthe application.

(h) Whenever the Commission regards an application for a

renewal of a television station license as essential to the properconduct of a hearing or investigation, and specifically directs thatit he filed by a date certain, such application shall be filed withinthe time thus specified. If the licensee fails to file such applica-tion within the prescribed time, the hearing or investigation shallproceed as if such renewal application had been received.

§ 3.621 Temporary extension of station licenses.-Where thereis pending before the Commission any application, investigation,or proceeding which, after hearing, might lead to or make neces-sary the modification of, revocation of; or the refusal to renew anexisting television license, the Commission may, in its discretion.grant a temporary extension of such license: Provided, however.That no such temporary extension shall be construed as a findingby the Commission that the operation of any radio station there-under will serve public interest, convenience, and necessity be-yond the express terms of such temporary extension of license:And provided further, That such temporary extension of licensewill in no wise affect or limit the action of the Commission withrespect to any pending application or proceeding.

§ 3.622 Repetitious applications.-(a) Where an applicant hasbeen afforded an opportunity to be heard with respect to a par-ticular application for a new television broadcast station, or forchange of existing service or facilities, and the Commission has.after hearing or default, denied the application or dismissed itwith prejudice, the Commission will not consider another application for a station of the same class to serve in whole or in parthe same area, by the same applicant or by his successor or assignee, or on behalf of or for the benefit of the original parties ininterest, until after the lapse of 12 months from the effective dateof the Commission's order.

(b) Where an appeal has been taken from the action of theCommission in denying a particular application, another applica-tion for the same class of broadcast station and for the same area.in whole or in part, filed by the same applicant or by his succes-sor or assignee, or on behalf or for the benefit of the originalparties in interest, will not be considered until the final disposi-tion of such appeal.

42viten

§ 3.623 Assignment or transfer of control.-la Voluntary: Ap-plication for consent to voluntary assignment of a television stalion construction permit or license or for consent to voluntarytransfer of control of a corporation holding a television stationconstruction permit or license shall be filed with the Commissionon Form FCC No. 314 (assignment of license) or Form FCC No.315 (transfer of control) at least 60 days prior to the contem-plated effective date of assignment or transfer of control.

(b) Involuntary: In the event of the death or legal disabilityof a permittee or licensee, or a member of a partnership. or aperson directly or indirectly in control of a corporation. which is

a permittee or licensee:(1) the Commission shall be notified in writing promptly of

the occurrence of such death or legal disability, and(2) within thirty days after the occurrence of such death or

legal disability, application on Form FCC No. 314 or 315 shall befiled for consent to involuntary assignment of such television sta-tion permit or license or for involuntary transfer of control ofsuch corporation to a person or entity legally qualified to succeedto the foregoing interests under the laws of the place having juris-diction over the estate involved.

Rules Relating To Licensing Policies

§ 3.631 Exclusive affiliation of Station.-No license shall begranted to a television broadcast station having any contract, ar-rangement, or understanding, express or implied with a networkorganization' under which the station is prevented or hinderedfrom, or penalized for, broadcasting the programs of any othernetwork organization.

§ 3.632 Territorial exclusivity. --No license shall be grantedto a television broadcast station having any contract, arrangement,or understanding, express or implied, with a network organizationwhich prevents or hinders another broadcast station serving sub-stantially the same area from broadcasting the network's programsnot taken by the former station, or which prevents or hindersanother broadcast station serving a substantially different areafrom broadcasting any program of the network organization. Thisregulation shall not be construed to prohibit any contract, ar-rangement, or understanding between a station and a networkorganization pursuant to which the station is granted the firstcall in its primary service area upon the programs of the networkorganization.

§ 3.633 Term of of filiation.-No license shall be granted to atelevision broadcast station having any contract, arrangement. orunderstanding, express or implied, with a network organizationwhich provides, by original terms, provisions orotherwise for the affiliation of the station with the network organ-ization for a period longer than two years: Provided, that a con-tract. arrangement, or understanding for a period up to two years.may be entered into within six months prior to the commencementof such period.

§ 3.634 Option time.-No license shall be granted to a tele-vision broadcast station which optionss for network programs anytime subject to call on less than 56 days' notice, or more timethan a total of three hours3 within each of four segments of thebroadcast day, as herein described. The broadcast day is dividedinto 4 segments, as follows: 8:00 a.m. to 1:00 p.m.; 1.00 p.m. to6:00 p.m.; 6:00 p.m. to 11 p.m.: 11:00 p.m. to 8:00 a.m.4 Suchoptions may not he exclusive as against other network organizationsand may not prevent or hinder the station from optioning or sell-ing any or all of the time covered by the option. or other lime, toother network organizations.

§ 3.635 Right to reject programs.-No license shall be grantedto a television broadcast station having any contract, arrangementor understanding, express or implied, with a network organizationwhich (a), with respect to programs offered pursuant to an affilia-tion contract, prevents or hinders the station from rejecting orrefusing network programs which the station reasonably believesto be unsatisfactory or unsuitable; or which (b), with respect tonetwork programs so offered or already contracted for, preventsthe station from rejecting or refusing any program which, in itsopinion, is contrary to the public interest, or from substituting aprogram of outstanding local or national importance.

§ 3.636. Network ownership of stations.-No license shall begranted to a network organization, or to any person directly orindirectly controlled by or under common controls of a networkorganization, for a television broadcast station in any localitywhere the existing television broadcast stations are so few or ofsuch unequal desirability (in terms of coverage, power, fre-quency, or other related matters) that competition would besubstantially restrained by such licensing.

§ 3.637 Dual network operation.-No license shall be issued toa television broadcast station affiliated with a network organiza-

tion which maintains more than one network of television broad-cast stations: Provided, that this regulation shall not be applica-ble if such networks are not operated simultaneously, or if thereis no substantial overlap in the territory served by the group ofstations comprising each such network.

§ 3.638 Control by networks of station rates. --No license shallbe granted to a television broadcast station having any contract,arrangement. or understanding, express or implied with a networkorganization under which the station is prevented or hinderedfrom, or penalized for, fixing or altering its rates for the sale ofbroadcast time for other than the network's programs.

§ 3.639 Use of common antenna site.-No television license orrenewal of a television license will be granted to any person whoowns, leases. or controls a particular site which is peculiarly suit-able for television broadcasting in a particular area and (1)which is not available for use by other television licensees; and12) no other comparable site is available in the area; and (3)where the exclusive use of such site by the applicant or licenseewould unduly limit the number of television stations that can beauthorized in a particular area, or would unduly restrict competion among television stations.

§ 3.610 Multiple ownership.-(a) No person (including allpersons Older common control) 43 shall, directly or indirectly, own,operate, or control more than one television broadcast station thatwould serve substantially the same service area as another tele-vision broadcast station owned, operated, or controlled by suchperson.

(b) No person (including all persons under common control)shall, directly or indirectly, own, operate, or control more thanone television broadcast station, except upon a showing (1) thatsuch ownership, operation, or control would foster competitionamong television broadcast stations or provide a television broad-casting service distinct and separate from existing services, and12) that such ownership, operation, or control would not result inthe concentration of control of television broadcasting facilities ina manner inconsistent with public interest, convenience, or neces-sity; provided, however, that the Commission will consider theownership, operation. or control of more than five televisionbroadcast stations to constitute the concentration of control oftelevision broadcasting facilities in a manner inconsistent withpublic interest, convenience, or necessity.

The term "network organization" as used herein includes national andregional network organizations. See Chapter VII, 3, of Report on Chain Broadcasting.

As used in this section, an option is any contract, arrangement, or under-standing, expressed or implied, between a station and a network organizationwhich prevents or hinders the station from scheduling programs before the net-work agrees to utilize the time during which such programs are scheduled. orwhich requires the station to clear time already scheduled when the networkorganization seeks to utilize the time.

3 All time options permitted under this section must be specified clockhours, expressed in terms of any system set forth in the contract agreed uponby the station and network organization. Shifts from daylight saving to standardtime or vice versa may or may not shift the specified hours correspondingly asagreed by the station and network organization.

These segments are to be determined for each station in terms of loci,time at the location of the station but may remain constant throughout theyear regardless of shifts from standard to daylight saying time or vice versa.

3 The word "control" an used herein, in not limited to full control butincludes such a measure of control as would substantially affect the availabilityof the station to other networks.

The word "control" as used herein is not limited to majority stork owner-ship, but includes actual working control in whatever manner exercised.

December 43

Rules Relating To Equipment

§ 3.651 Transmitter power. The rated power and operatingpower range of transmitters shall be in accordance with theStandards of Good Engineering Practice concerning TelevisionBroadcast Stations.

§ 3.652 Frequency monitors.-The licensee of each televisionbroadcast station shall have in operation at the transmittersfrequency monitors independent of the frequency control of thetransmitters.

§ 3.653 Modulation monitors.-The licensee of each televisionbroadcast station shall have in operation at the transmitter amodulation monitor for the aural transmitter. There shall alsobe sufficient monitoring equipment for the visual signal to de-termine that the signal complies with the Standards of GoodEngineering Practice concetning Television Broadcast Stations.

§ 3.654 Required transmitter performance.-The construction,installation, operation, and performance of the television broad-cast transmitter system shall be in accordance with the Standardsof Good Engineering Practice concerning Television BroadcastStations.

§ 3.655 Auxiliary transmitter. -Upon showing that a need existsfor the use of auxiliary transmitters in addition to the regulartransmitters of a television station, a license therefor may beissued prop ided that:

(a) Auxiliary transmitters may be installed either at the samelocation as the main transmitters or at another location.

(b) A licensed operator shall be in control whenever auxiliarytransmitters are placed in operation.

(c) The auxiliary transmitters shall be maintained so that the%may be put into immediate operation at any time for the followingpurposes:

(it The transmission of the regular programs upon the failureof the main transmitters.

(2) The transmission of regular programs during maintenanceor modification7 work on the main transmitters, necessitatingdiscontinuance of its operation for a period not to exceed five days.

(3) Upon request by a duly authorized representative of theCommission.

(d) The auxiliary transmitter shall be tested at least onceeach week to determine that it is in proper operating conditionand that it is adjusted to the proper frequency, except that incase of operation in accordance with paragraph (c) of this sectionduring any week. the test in that week may be omitted providedthe operation under paragraph (c) is satisfactory. A record shallhe kept of the time and result of each test operating underparagraph (c).

(e) The auxiliary transmitters shall he equipped with satis-factory control equipment which will enable the maintenance

of the frequency emitted by the statism within the limits pre-scribed by these regulations.

I f t The operating power of an auxiliary transmitter may I.lc-- than the authorized power of the main transmitters, bot

in no event shall it be greater than such power.

§ 3.656 Alternate main transmitters. --The licensee of a irki ion broadcast station may be licensed for alternate main trail-

unifiers provided that a technical need fur such alternate trans-mitters is slum n and that the following conditions are met:

t Both transmitters are located at the same place.00 Both transmitters shall have the same power rating.c Both transmitters shall meet the construction.

operation. and performance requirements of the Standards ofGood Engineering Practice concerning Television BroadcastStations.

§ 3.657 Changes in equipment and antenna system. Licenseesof television broadcast stations shall observe the following pro-visions with regard to changes in equipment and antenna system:

a t No changes in equipment shall be made:11 That would result in the emission of signals outside of

the authorized channel.121 That would result in the external performance of the

transmitter being in disagreement with that prescribed in theStandards of Good Engineering Practice concerning TelevisionBroadcast Stations.

I)) Specific authority. upon filing formal application (FormFCC No. 3331 therefor, is required for a change in service areaor fur any of the following changes:

(1) Changes involving an increase or decrease in the powerrating of the transmitters.

(21 A replacement of the transmitters as a whole.131 Change in the location of the transmitting antenna.14) Change in antenna system. including transmission line.15) Change in location of main studio, if it is proposed to move

the main studio to a different city from that specified in the license.16) Change in the power delivered to the antenna.(7) Change in frequency control and/or modulation system.1c) Specific authority. upon filing informal request therefor.

is required for a change in the indicating instruments installed tomeasure transmitter power output, except by instruments of thesame maximum scale reading and accuracy.

Id) Other changes, except as above provided for in this sectionor in Standards of Good Engineering Practice concerning Tele-vision Broadcast Stations prescribed by the Commission may bemade at any time without the authority of the Commission, pro-vided that the Commission shall be promptly notified thereof andsuch changes shall be shown in the next application for renewalof license.

Rules Relating To Technical Operation

§ 3.661 Time of operation. -(a) All television broadcast station -will be licensed for unlimited time operation. Each licensedtelevision station shall maintain a regular program operatingschedule of not le- than 2 hours in any given broadcast day, andit shall render not less than 28 hours program service per week.In an emergency, however. when due to causes beyond the controlof a licensee, it becqmes impossible to continue operation, thestation may cease operation for a period nut to exceed 10 days.provided that the Commission and the Inspector in Charge of theradio district in which the station is located shall be notified inwriting immediately after the emergency develops.

(b( The aural transmitter of a television broadcast station shallnot be operated separately from the visual transmitter except forexperimental or test purposes, and for purposes incidental to orconnected with the operation of the visual transmitter.

(c) Persons desiring to enter into a voluntary sharing arrange.ment of a television channel may file application therefor withthe Commission. Copies of the time-sharing agreement shouldbe filed with the application

§ 3.662 Experimental operation.-Television broadcast stationsmay conduct technical experimentation directed to the improve-ment of technical phases of operation and for such purposes mayutilize a signal other than the standard television signal subjectto the following conditions:

Ia1 That the licensee complies with the provisions of section3.661 with regard to the minimum number of hours of transmisswith a standard television signal.

bt That no transmissions are radiated outside of the authorizedchannel and subject to the condition that no interference is causedto the transmissions of a standard television signal by othertelevision broadcast stations.

(c) No charges either direct or indirect shall be made by thelicensee of a television broadcast station for the production ortransmission of programs when conducting technical experi-mentation.

§ 3.663 Station inspection. --The licensee of any televisionbroadcast station shall make the station available for inspectionby representatives of the Commission at any reasonable hour.

This include. the equipment doing,. x hid. may be made without authoritya. set forth elsewhere in the Rules and Regulation.and the Standards of GoodEngineering Practice or as authorised by the Commission by letter or by constrtntion permit. Where such opera ' is required for periods in excess of S

ilass, request therefor shall he in accordance with seetion 1.365.

44 I Meals'

§ 3.664 Station license, posting of. ---The original of each sta-tion license shall be posted in the transmitter room.

§ 3.665 Operator requirements.- One or more licensed radio-telephone first class operators shall be on duty at the placewhere the transmitting apparatus of each station is located and inactual charge thereof whenever it is being operated. The originallicense (Form FCC No. 759) of each station operator shall beposted at the place where he is on duty. The licensed operator onduty and in charge of a television broadcast transmitter may.at the discretion of the licensee, be employed for other duties orfor the operation of another station or stations in accordancewith the class of operator's license which he holds and by therules and regulations governing such stations. However. such dutiesshall in no wise interfere with the operation of the broadcasttransmitter.

§ 3.666 Operating power: how determined.-The operatingpower, and the requirements for maintenance thereof, of eachtelevision broadcast station shall he determined by the methodsprescribed in the Standards of Good Engineering Practice con-cerning Television Broadcast Stations.

§ 3.667 Modulation.-The percentage of modulation of the auraltransmissions shall be maintained as high as possible consistentwith good quality of transmission and good broadcast practiceand in no case less than 85 per cent nor more than 100 per cent

on peaks of frequent recurrence during any selection whichnormally is transmitted at the highest level of the program underconsideration.

§ 3.668 Frequency toleration. The operating frequencies ofthe aural and visual transmitters of a television broadcast stationshall be maintained within .002% of the assigned frequencies.

§ 3.669 Inspection of tower lights and associated control equip-ment. The licensee of any television station which has an antennaor antenna supporting structurels) required to be illuminatedpursuant to the provisions of section 303(q) of the Communica-tio- .1ct of 1934. as amended:

la/ Shall make a visual observation of the tower lights atleast once each 24 hours to insure that all such lights are

'functioning properly as required.Ibt Shall report immediately by telephone or telegraph to

the nearest Airways Communication Station or office of the CivilAeronautics Administration any observed failure of the towerlights, not corrected within 30 minutes. regardless of the cause ofsuch failure. Further notification by telephone or telegraph shallhe given immediately upon resumption of the required illumi-nation.

(c) Shall inspect at intervals of at least one each 3 monthsall flashing or rotating beacons and automatic lighting controlas required.devices to insure that such apparatus is functioning properly

Other Rules Relating To Operation§ 3.681 Logs. The licensee of each television station shall

maintain program and operating logs and shall require entriesto be made as follows:

tat In the program log:1 I An entry of the time each station identification announce-ment (call letters and location) is made.

(2) An entry briefly describing each program broadcast, suchas "music.- "drama.- "speech.- etc_ together with the name ortitle thereof and the sponsor's name, with the time of the be-ginning and ending of the complete program. If a mechanical re-production, either video or audio, is used. the entry shall showthe exact nature thereof, and the time it is announced as a me-chanical reproduction. If a speech is made by a political candi-date, the name and political affiliations of such speaker shall heentered.

13) An entry showing that each sponsored program broadcasthas been announced as sponsored. paid for, or furnished by the-sponsor.

(4) An entry showing, for each program of network origin, thename of the network originating the program.

(b) In the operating log:(1) An entry of the time the station begins to supply power

to the antenna, and the time it stops.(2) An entry of the time the program begins and ends.(3) An entry of each interruption to the carrier wave, itscause, and duration.14) An entry of the following each 30 minutes:(i) Operating constants of last radio stage of the aural trans-

mitter (total plate current and plate voltage 1.

Transmission line current or voltage of both transmitters.hi) Frequency monitor reading.

(5) Log of experimental operation during experimental period(if regular operation is maintained during this period, the abovelogs shall he kept).

Ii) A log must be kept of all operation during the experimentalperiod. If the entries required above are not applicable thereto,then the entries shall be made so as to fully describe the operation.

Ic) Where an antenna or antenna supporting structure(s) isrequired to be illuminated, the licensee shall make entries in theradio station log appropriate to the requirements of section 3.669as follows:

11) The time the tower lights are turned on and off if manuallycontrolled.(2) The time the daily visual observation of the tower lightswas made.13) In the event of any observed failure of a tower light.

it Nature of such failure.Time the failure was observed.

( iii I Time and nature of the adjustments, repairs or replace-ments made.

i% I Airways Communication Station (C.A.A.) notified of thefailure of any tower light not corrected within thirty minutes andthe time such notice was given.

M Time notice was given to tlit. Airways Communication Sta-tion IC.A.A.) that the required illumination was resumed.

14) Upon completion of the periodic inspection required atleast once each three months.

(i) The date of the inspection and the condition of all towerlights and associated tower lighting control devices.

(ill Any adjustments, replacements or repairs made to insurecompliance with the lighting requirements.

§ 3.682 Logs, retention of.-Logs of television broadcast stationsshall be retained by the licensee for a period of 2 years. However,logs incident to or involved in any claim or complaint of whichthe licensee has notice shall be retained by the licensee untilsuch claim or complaint has been fully satisfied or until the samehas been barred by statute limiting the time for the filing ofsuits upon such claims.

§ 3.683 Logs, by whom kept.-Each log shall be kept by theperson or persons competent to do so, having actual knowledge ofthe facts required, who shall sign the log when starting duty andagain when going off duty. The logs shall be made available nonerequest by an authorized representative of the Commission.

§ 3.684 Log Jorm.---The log shall be kept in an orderly manlier,in suitable form, and in such detail that the data required fopthe particular class of station concerned are readily availableKey letters or abbreviations may be used if proper meaning oexplanation is contained elsewhere in the log.

§ 3.685 Correction of logs.-No log or portion thereof shall beerased, obliterated, or willfully destroyed within the period ofretention provided by the rules. Any necessary correction may bemade only by the person originating the entry who shall strikeout the erroneous portion, initial the correction made, and indicatethe date of correction.

§ 3.686 Rough logs.-Rough logs may be transcribed into con-densed form, but in such case the original log or memoranda andall portions thereof shall he preserved and made a part of thecomplete log.

§ 3.687 Station identification.-(al A licensee of a televisionbroadcast station shall make station identification announcement

December 45

(call letters and location), at the beginning and ending of eachtime of operation and during operation on the hour. The announce-ment at the beginning and ending of each time of operation shallbe by both aural and video means. Other announcements may beby either aural or video means.

(b) Identification announcement during operation need not bemade when to make such anouncement would interrupt a singleconsecutive speech, play, religious service, symphony concert, orany type of production. In such cases the identification announce-ment shall be made at the first interruption of the entertainmentcontinuity and at the conclusion thereof.

§ 3.688 Mechanical reproductions. --(a) Each program whichconsists in whole or in part of one or more mechanical repro-ductions, either video or audio, shall be accompanied by an ap-propriate announcement to that effect either at the beginning orend of such reproduction or at the beginning or end of theprogram in which such reproduction is used. No such announce-ment shall be required where a mechanical reproduction is usedfor background music, sound effects, station identification, pro-gram identification (theme music of short duration) or identifi-cation of sponsorship of the program proper.

(b) The exact form of identifying announcement is not pre-scribed, but the language shall be clear and in terms commonlyused and understood. The licensee shall not attempt affirmativelyto create the impression that any program being broadcast bymechanical reproduction consists of live talent.

§ 3.689 Sponsored programs, announcement of.-(a) In the caseof each program for the broadcasting of which money, services, orother valuable consideration is either directly or indirectly paidor promised to, or charged or received by, any radio broadcaststation, the station broadcasting such program shall make, orcause to be made, an appropriate announcement that the programis sponsored, paid for, or furnished either in whole or in part.

(b) In the case of any political program or any program in-volving the discussion of public controversial issues for whichany films, records, transcriptions, talent, scripts, or other materialor services of any kind are furnished either directly or indirectly,to a station as an inducement to the broadcasting of such program,an announcement shall be made both at the beginning and con-clusion of such program on which such material or services areused that such films, records, transcriptions, talent, scripts, orother material or services have been furnished to such station inconnection with the broadcasting of such program: provided,however, that only one such announcement need be made in thecase of any such program of five minutes' duration or less, whichannouncement may be made either at the beginning or conclusionof the program.

(c) The announcement required by this section shall fully andfairly disclose the true identity of the person or persons by whomor in whose behalf such payment is made or promised, or fromwhom or in whose behalf such services or other valuable considera-tion is received, or by whom the material or services referred to insubsection (b) hereof are furnished. Where an agent or otherperson contracts or otherwise makes arrangements with a station onbehalf of another, and such fact is known to the station, the an-nouncement shall disclose the identity of the person or persons inwhose behalf such agent is acting instead of the name of suchagent.

(d) In the case of any program, other than a program ad-vertising commercial products or services, which is sponsored.paid for or furnished, either in whole or in part, or for whichmaterial or services referred to in subsection (b) hereof arefurnished, by a corporation, committee, association or other un-incorporated group, the announcement required by this sectionshall disclose the name of such corporation, committee, associationor other unincorporated group. In each such case the station shallrequire that a list of the chief executive officers or members ofthe executive committee or of the hoard of directors of the corpora-tion, committee, association or other unincorporated group shallhe made available for public inspection at one of the televisionbroadcast stations carrying the program.

(e) In the case of programs advertising commercial productsor services, an announcement stating the sponsor's corporate ortrade name or the name of the sponsor's product, shall be deemed

sufficient for the purposes of this section and only one such an-nouncement need be made at any time during the course ofthe program.

§ 3.690 Broadcasts by candidates for public office.-(a) Legallyqualified candidate.-A "legally qualified candidate" means anyperson who has publicly announced that he is a candidate fornomination by a convention of a political party or for nominationor election in a primary, special, or general election, municipal,county, state or national, and who meets the qualifications pre-scribed by the applicable laws to hold the office for which he isa candidate, so that he may be voted for by the electorate directlyor by means of delegates or electors, and who

(1) has qualified for a place on the ballot or(2) is eligible under the applicable law to be voted for by

sticker, by writing in his name on the ballot, or other method.and (i) has been duly nominated by a political party which iscommonly known and regarded as such, or (ii) makes a substantialshowing that he is a bona fide candidate for nomination or office,as the case may be.

(b) General requirements. --No station licensee is required topermit the use of its facilities by any legally qualified candidatefor public office, but if any licensee shall permit any such candi-date to use its facilities, it shall afford equal opportunities to allother such candidates for that office to use such facilities, Provided,That such licensee shall have no power of censorship over thematerial broadcast by any such candidate.

(c) Rates and practices.-The rates, if any, charged all suchcandidates for the same office shall be uniform and shall not berebated by any means, directly or indirectly; no licensee shallmake any discrimination in charges, practices, regulations, facili-ties, or services for or in connection with the service renderedpursuant to these rules, or make or give any preference to anycandidate for public office or subject any such candidate to anyprejudice or disadvantage; nor shall any licensee make any con-tract or other agreement which shall have the effect of permittingany legally qualified candidate for any public office to broadcastto the exclusion of other legally qualified candidates for thesame public office.

(d) Inspection of records.-Every licensee shall keep and permitpublic inspection of a complete record of all requests for broad-cast time made by or on behalf of candidates for public office.togethei with an appropriate notation showing the dispositionmade by the licensee of such requests. and the charges made, ifany, if request is granted.

§ 3.691 Rebroadcast.-(a) The term "rebroadcast" means re-ception by radio of the program' of a radio station, and thesimultaneous or subsequent retransmission of such program by abroadcast station. The broadcasting of a program relayed by arelay broadcast station or studio transmitter link is not considereda rebroadcast.

(b) The licensee of a television broadcast station may, withoutfurther authority of the Commission, rebroadcast the program ofa United States television broadcast station, provided the Com-mission is notified of the call letters of each station rebroadcastand the licensee certifies that express authority has been receivedfrom the licensee of the station originating the program.°

(c) No licensee of a television broadcast station shall re-broadcast the program of any United States radio station notdesignated in (b) above without written authority having firstbeen obtained from the Commission upon application (informal)accompanied by written consent or certification of consent of thelicensee of the station originating the program.'°

4 1. i.e.! in this section. program includes any complete program or partt hereof.

° The notice and certification of consent shall be given within three (3)days of any single rebroadcast. but in case of the regular practice of rebroadcasting certain programs of a television broadcast station several times duringa license period. notice and certification of consent shall be given for theensuing license period with the application for renewal of license, or at the

beginning of such rebroadcast practice if begun during a license period.10 By Order No. 82. dated and effective June 24. 1941, until further order of

ti,. Commission. section 3.691(d) is suspended only insofar as it requires pnorun its,, stithority of the Commission for the rebroadcasting of programs originatedfor that express purpose by United States Government radio stations.

46 Television

Television Outlook in ClevelandStatler, Cleveland

Lawyers - Kirkland, Fleming. Green, Martin & Eliss.Washington

Miscel.:-Richards, President and Director, WJR, De-troit; President, Director and principal stock -holderKMPC, Beverly Hills, California. Fitzpatric. Vice -Pres-ident. Director, WJR; Vice -President KMPC. Patt,Vice -President. Director, WJR. Other officers connectedwith both stations. Applicant now debating whether togo into high frequencies or not.

W J W. Inc.Address --1375 Euclid Avenue, Cleveland, Ohio.Officers-W. M. O'Neil, President; C. F. Burke, Vice -

President and Treasurer; W. Theodore Pierson, Sec-retary

Ownership-W. M. O'NeilCosts

1. Vis. transmitter $86,0002. Aural transmitter plus tubes 64,0003. Antenna System 10,0004. Studio Equipment 89,0005. Studio Lighting 6,0006. F & M Monitors 3,5007. Land 6,0008. Building 10.0009. Other item, installation, test

equipment, etc. 12,000Total Costs $286.500

(Continued from iwge10)

Operation Costs per month $7,000Cost estimate by-GE quotations and George C. Davis,

consulting engineerChannel #4Kilocycles -78.84 mcs.ESR-4330Hrs. per wk. of operation -15

Breakdown - Monthlyoutside pickup -16studio production -20motion picture film -24

AntennaHeight, sea level -116 ft.Height, ground level --421 ft.Location-Structural steel tower

Transmitter location-Sprague Road between State andBroadview Roads, Parma, Ohio

Power, aural and visual-au-20kw, vis.-40kwPopulation -1,973,215Size of area-Primary 1700 - Secondary 5550Location of Studio -1375 Euclid Avenue, Cleveland, OhioEngineering Consultant-George C. DavisLawyers-W. Theodore Pierson & Harrison T. SlaughterMiscel.:-Operates WJW, AM station, in Cleveland

The television picture in Cleveland, after observationof the scenes in New York, Philadelphia and severalother large cities where there are sometimes two appli-cants for each FCC allocated channel, is comparativelyas calm and peaceful as a Christmas card poem.

Long Shots and Close -Ups (Continued from page 19)

ones around, and you'll usually findthem working. That gives you anidea where to look.

Anyone who has spent enoughtime in the motion picture businessand is a successful writer or directorhas a great deal in common with anagency. In addition to knowing pic-tures, he has had to learn considerableabout selling, advertising, sales pro-motion, sales training, merchandising.

Otherwise, he just couldn't get itacross to an audience, visually, orin dialogue. Therefore, it seems onlylogical, that it would be far easierand more productive to take a manof those qualifications and educatehim to your agency's methods andhandling of accounts, than to attemptto teach a dyed-in-the-wool agencyman the motion picture business. Itwould take much less time (don't

forget he's been contacting clientsdirect for years) and you'd have afar more competent man.

In closing, let me again remind youthat motion picture producers likenothing better than to work with anagency who are out to, and can doa real job of coordination, coopera-tion and intelligent supervision onfilm programs. If that's your objec-tive - more power to you.

Directors of TBA Reelect OfficersALL officers of the Television Broadcasters Association, Inc., were reelected at the

annual meeting of the Board of Directors following the annual meeting ofmembers of the Association.

J. R. Poppele, secretary and chief engineer of Station WOR, was reelected presidentoftthe. Association. F. J. Bingley of Phileo Radio & Television Corp., was reelectedvice president and Will Baltin, secretary -treasurer of the Association was reelected tohis office. 0. B. Hanson, vice president in charge of engineering at the NationalBroadcasting Co., was reelected assistant secretary -treasurer.

December 47

EDITORIAL

ColorRecent demonstration of RCA and CBS color systems should do much to clarify

this large question mark which has confronted the industry for some tune. Bothcompanies have shown color based on mechanical systems. Both systems produced avery acceptable picture. Both companies are still sticking to their respective claims:CBS that color is here now, and RCA that it is here in the laboratory only. Time alonewill prove or disprove their claims.

The one point that is important though is that black and white is here now, withno if's, and's or but's. After viewing the Army -Navy Game in New York over televisionand seeing the excellent picture on the new RCA direct viewing receiver. it is incon-ceivable to think that the public will not be completely satisfied with black and whitetelevision.

Naturally color adds a definite plus to black and white and %hen it does come. andit will come some day, the public will in turn buy color receivers. It is our consideredopinion that they will buy black and white readily in face of the possibility of thisobsolescence. However, the situation among prospective television station operators isa bit different.

Obsolescence or Progress?ndoubtedly the threat of a possible short obsolescence %% ill keep some from going

ahead with their television plans. Still others will hold back, not willing to incur theless for the first years of operation. Every new industry and every established industryis faced with obsolescence and capital risk. The fact remains that there are more than140 applications for television stations.

As some drop out others with stouter hearts and fatter purses will come in. Forevery broadcaster not going into television there's a film company, department store.publisher. theatre operator or some new group ready to take his place. This is nothingunusual. In fact it closely parallels the histories of most new industries.

The momentum of almost every new industry is furnished by its pioneers. those.s ho convinced of the potential. plunge ahead regardless of obstacles. Many, who arenot prepared to take the chance now, probably 1%on't have the chance later on.

The television industry is now underway. Allocations are set. The Federal Com-munications Commission has done as good a job as possible under prevailing condi-tions. The low frequency group has fared well. There can be no complaints by thehigh frequency color advocates for they too have the green light to proceed with theirexperimenations.

48 Television

One of the three television camerasplaced high above the 50 -yard line.on .specially -built platforms near thetop of the South Stands. One camerahas a wide angle lens; the othersare equipped with telephoto lens forllose-up

7a-e-bc5;1-(5)PHILCO TELEVISED PENN FOOTBALL GAMES

A special monitoring screen on the unouncer'stable enables him to coordinate his narration withthe picture that is received by the television audience.

FR the 6th consecutive year Philco Television Station,

WPTZ, in cooperation with the Atlantic RefiningCompany, has televised all University of Pennsylvaniafootball games played at Franklin Field in Philadelphia.

Six years ago Philco was the first to put on the air acomplete schedule of football games by television. Sincethen Philco has continued this activity as part of its tele-vision research program and as a practical demonstrationof the service which television can offer the public.

These telecasts, through which the Philadelphia audi-ence enjoys an entire season of football by television, arestill unique in the industry.

PHILCO7w-neezdfr Gaiiir de Wick/ Ore/.0Master control room of Station WPTZ in action

during football contest.

.00Does Television Make Economic Sense?

What capital investment is required for a full -service television station? What will be its annualoperating cost? What is the revenue expectancyfrom time sales? What is a fair tele-time rate?Shall rehearsal time be charged for? How will anetwork affiliation affect profits?

These hard-headed questions are boldly andfrankly answered with exciting facts and figures inDuMont's new booklet: "The Economics of Tele-vision"-just off the press!

DuMont's answers are backed by DuMont's

extensive experience in developing television

broadcasting equipment, in building more tele-stations than any other company, in designing andconstructing DuMont's new John WanamakerStudios, in operating its own tele-station since1941, and by continuous laboratory, market andaudience research.

Television experts generally are agreed thatDuMont has the "tele-know-how" needed to seta pattern for profitable station management. This

new booklet makes such a pattern available. Please

request it on your firm letterhead.

copyricht 1045. Allen D. Dullinnt LannratorleS. Inc.

ON? t 7egeizievit_ areal

ALLEN B. DuMONT LABORATORIES, INC.. GENERAL OFFICES AND PLANT, 2 MAIN AVENUE, PASSAIC, N. J.TELEVISION STUDIOS AND STATION \X'ABD. sis MADISON AVENUE, NEW YORK 22, NEW YORK