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IN RICHII{OND?

Oi course, o three-quorter billion

dollor mqrket hos lots of

customers worth collfng.

WMBG, WTVR qnd WCOD tolk to mosl

of ihem dqily . . . ore closer to

them thon their telephones.

First stotions of Virginio, in rodio

qnd television both, the pioneer

Hqvens qnd Mqrtin stqtions deliver q

loyol, time-lested oudience in this

exponding oreo of consistently strong

buying power. Your neorest Bloir

mon will glodly provide detqils.

Hovens & Mortin Stqlions ore lhe only

complele broqdcosling institulion in Richmond.

Pioneer NBC outlets for Virginio's f irsf morket.

Represenled noiionolly by

John Bloir & Compony

OCTOBER, 1950 • PUBLISHED MONTHLY • FIFTY CENTS IN THIS ISSUE

Producing TV in Color TV Pays Off for Snow Crop Preventive Maintenance

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IN RICHMOND?

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.4 Of course, a three-quarter billion

dollar market has lots of

customers worth calling.

WMBG, VVTVR and WCOD talk to most

of them daily . . . are closer to

them .'han their telephones.

First stations of Virginia, in radio

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Havens and Martin stations deliver a.

loyal, time-tested audience in this

expanding area of consistently strong

ouying obwer. Your nearest Blair

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Havens & Martin Stations are the only

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FIRST STATIONS OF VIRGINIA

Dgj

Pioneer NBC outlets for Virginia's first market.

Represented nationally by

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DY' H.u"

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Are you bleary at the prospect-of what TV spots' will do to Your advertising budget?

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Are you bleary at the prospect of what TV spots will do to your advertising budget?

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Or, did you try to save, and find that your economy cut the vitality, sock and sales

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NSS has everything it takes to produce the finest TV film commercials . . . the know-how

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All the factors that go into a film commercial . . . the thinking, creative planning, the staff, the art,

camera and optical facilities . . . are abundantly on hand at NSS. These are smooth-working, everyday

functions of NSS's large-scale, more than 30-year-old operation for the motion picture industry.

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www.americanradiohistory.com

Television

cnlneril with

tho otre $ of n cat!U

Why on imoge orthicon cqmerq consee with only the light of q mqtch

No. 9 in q series outlining highpoints in television hislory

Photos from the historical collection of RCA

r Show any camela fan the things a television camera is

asked to do, and you'll leave him gasping !

Accustomed to using flash bulbs and floodlights-ortaking time exposures in dim light-the still photographeris tied to the limitations of lens ratings and film speed.

But a television cameraman operating the RCA imageorthicon camera gets sharp, clear pictures-in motion-in places where lack of light would paralyze the mostcostly "still" camera.

The secret, of course, is that the picture signals createdrvithin the RCA image orthicon camera can be intensifiedmillions of times for transmission.

Youthful ancestor of this supersensitive instrument is

the iconoscope tube invented by Dr. V. K. Zworykin, of

Afthough dromotic oclion, in teleaision plays, is often presented

in the di,mmest light - no detai,I is missed by the RCA imageorthicon camera.

RCA Laboratories. It was television's first all-electronic"eye"-without any moving parts, presenting no mechan-ical problems.

Basing their research on principles uncovered by Dr.Zworykin's iconoscope, RCA scientists were then ableto develop the image orthicon pick-up tube. Althoughsimple to operate, and virtually fool-proof, it is actuallyone of the most complex and compact electronic devicesever developed.

Within its slim length-not much bigger than a flash-light-are the essentials of three tubes, a phototube, a

cathode ray tube, an electron multiplier. The phototubeconverts a light image into an electron image, which iselectrically transferred to a target and scanned by anelectlon beam to create a radio signal. The electron mul-tiplier then takes the signal and greatly amplifies itsstrength so that it may travel over circuits leading to thebroadcast transmitter.

Inside the image orthicon tube, more than 200 partsare meticulously assembled. There's a glass plate thinnerthan a soap bubble . . . a copper mesh pierced with 250,000

tiny holes to the square inch. A piece of polished nickelpierced with a hole so small you couldn't thread it witha human hair!

The image orthicon television camera, as it has beendeveloped by scientists at RCA Laboratories, is now 100

to 1000 times as sensitive as its parent-the iconoscope. . . and in the dark, sees almost as clearly as the keenest

eyed catlHere, in q tesling bottery at RCA Tube Plant in Lancaster. Pa.- ,oRCA inage orttricon pick-rp tubes get tlrc finat'seal o1 opprouui ftA RqdiO COrpOfOtiOn Of AmgriCqfrom an engineer. \€Z woRtD TEADER tN RAD,o-F/Rsr tN rEl.Eyrs,oN

Television

camera with

(he eyes of a cat!

Why an image orthicon camera can

see with only the light of a match

No. 9 in a series outlining high points in television history

Photos ffrorn the historical collection of RCA

• Show any camera fan the things a television camera is asked to do, and you'll leave him gasping!

Accustomed to using flash bulbs and floodlights—or taking time exposures in dim light—the still photographer is tied to the limitations of lens ratings and film speed. But a television cameraman operating the RCA image orthicon camera gets sharp, clear pictures—in motion— in places where lack of light would paralyze the most costly "still" camera.

The secret, of course, is that the picture signals created within the RCA image orthicon camera can be intensified millions of times for transmission.

Youthtul ancestor of this supersensitive instrument is the iconoscope tube invented by Dr. V. K. Zworykin, of

.

0

m

m

Here, in a resting battery at RCA Tube Plant in Lancaster, Pa., RCA image orthicon pick-tip tubes get the final seal of approval from an engineer.

Although dramatic action, in television playgîs often presented in the dimmest light — no detail is missed hy the RCA image orthicon camera.

RCA Laboratories. It was television's first all-electronic "eye"—without any moving parts, presenting no mechanical problems.

Basing their research on principles uncovered by Dr. Zworykin's iconoscope, RCA scientists were then able to develop the image orthicon pick-up tube. Although simple to operate, and virtually fool-proof, it is actually one of the most complex and compact electronic devices ever developed.

Within its slim length—not much bigger than a flash- light—are the essentials of three tubes, a phototube, a cathode ray tube, an electron multiplier. The phototube converts a light image into an electron image, which is electrically transferred to a target and scanned by an electron beam to create a radio signal. The electron multiplier then takes the signal and greatly amplifies its strength so that it may travel over circuits leading to the broadcast transmitter.

Inside the image orthicon tube, more than 200 parts are meticulously assembled. There's a glass plate thinner than a soap bubble... a copper mesh pierced with 250 000 tiny holes to the square inch. A piece of polished nickel pierced with a hole so small you couldn t thread it with a human hair!

The image orthicon television camera, as it has been developed by scientists at RCA Laboratories, is now 100 to 1000 times as sensitive as its parent—the iconoscope . .. and in the dark, sees almost as clearly as the keenest eyed cat!

Radio Corporation of America WORLD LEADER IN RADIO—FIRST IN TELEVISION


October, 1950 Vol. 7, No. 8

TeleviserTHE IOT'RNAL OF TELEVISION

c 0 il T E tT sPRODUC'NG TY PROGRAMS

'N COI.OR

By Fred Rickey, Director, CBS-IY . . .

BACKGROUND FACTS ON COTOR DEC'S'ON

TV PAYS OFF FOR SNOW CROP . . . .

By Robert E. Harris

PREV ENTIV E MAINTENANCEBy Norman L. Chollin

20 POINTS FORBy lrwin A.

EFFECTIVIS'ONSBy John DeMott

FILM FACTSBy terry Albeft

CHECK'NG TV IDEAS

5

8

Shone

tot0

t2

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TRAFFIC 4ANAGERBy Betty Baltz Reinecke, Trallic Manager,WTAR-TY

WHEN TV MOVES IN

TELEYISERGRAPHBy Mox Fleischer

RECEIVER DISTRIBUTION

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ROBERT E. I{ARRISManaging Editor

Joscplr Derrrier ...... ...Assisturtt Ed,itor GeorgeTheis .. ..ldztertisirtg RcfMaurice H. Zouary ..Art Edi,tor George Webstcr .. . . ...Ad,aerti,sing Rcp.j

John A. Bassett and Co.,. ...West Coast Adx'ertising Representative101 McKinley Bldg., 3757 \4rilshire Blvd., Los Angeles, California

Televiser New York Offices: 1780 Broadway. New York 19 PLaza 7-3723

IRWIN A. SHANEEditor and Publisher

Entered as second cLLss matter. Oct.13.194.1.Re-entered as 2nd class matter, at the postoiice at New York, N. Y., under the Act oflfarch 3, 1879. Subscription Rate, $5 Per Year(in the U. S. ancl territories, and Canacla; $6.00

elservhere, payable in U. S, Currency). Adver-tising r:rtes upon request. Published monthl)',

ercept July and August, by Television Publicr-

trons, 1780 Broadu'a1', Nerv York 19, N. Y.

.lillRi"l* 33""';xi"-.1;m,t silffiYnr

-rJril". J[El'8*

rat*lr pti,Hl'

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Entire CoDtents Copyrighted, 1950

COMMONWEALTH Currently Serving the

Nation's Leading TV Stations Otters the Following

October, 1950 Vol. 7. No. 8

T deviser

THE JOURNAL OF TELEVISION

CONTENTS

PRODUCING TV PROGRAMS IN COLOR

BACKGROUND FACTS ON COLOR DECISION 8

TV PAYS OFF FOR SNOW CROP By Robert E. Harris

PREVENTIVE MAINTENANCE

20 POINTS FOR CHECKING TV IDEAS By Irwin A. Shane 74

TRAFFIC MANAGER By Betty Baltz Reinecke, Traffic Manager, WTAR-TV . ... IS

WHEN TV MOVES IN 76

TELEVISERGRAPH By Max Fleischer 78

RECEIVER DISTRIBUTION 79

EFFECTIVISIONS By John DeMott 20

FILM FACTS By Jerry Albert 22

IRWIN A. SHANE Editor and Publisher

Joseph Dermer Assistant Editor Maurice H. Zouary Art Editor

ROBERT E. HARRIS Managing Editor

George Theis Advertising Rep. George Webster Advertising Rep.

John A. Bassett and Co... ...West Coast Advertising Representative 101 McKinley Bldg., 3757 Wilshire Blvd., Los Angeles, California

Televiser New York Offices: 1780 Broadway, New York 19 PLaza 7-3723

Entered as second class matter, Oct. 13, 1944. Re-entered as 2nd class matter, at the post office at New York, N. Y., under the Act of March 3, 1879. Subscription Rate, $5 Per Year (in the U. S. and territories, and Canada; $6.00

elsewhere, payable in U. S. Currency). Adver- tising rates upon request. Published monthly, except July and August, by Television Publica- tions, 1780 Broadway, New York 19, N. Y.

Entire Contents Copyrighted, 1950

TV FILM PACKAGES

nZ MAJOR 20 COMPANY

feature PROGRAMS PC" with such stors^

5 1 Barbara

8 111 STANWYCK . 1 Robert

1 young 70 I Jimmy 70 ill OURANTE

' 1 Claudette ii COLBERT ill Jack

72 benny

Paulette goddaro

Jimmy STEWART

Merle BERON

Melvyn DOUGLAS Raymond

MASSEY

.^^WESTERNS featuring

THE RANGE BUSTERS

KERMIT MAYNARD

k. SMITH BALLEW

[Si "SSI

J- rro' Naish ^ T<""l 8u"er Crab

rs

% *

m

MUSICAL , VARIETIES . iJ'Amin each • featuring

MOREY AMSTERDAM 4

/S

SOUHO cartoons]

c°mT f

; For further information and complete

list, write to

LommonujERLTH tyiZ/ni and SrdtitWsiMi, /fnr. 723 Seventh Avenue, New York 19, N.Y.

INCOOPORATED—'A

3


rI

Producing TU Programs

-ln G0t0Rby Frcd Rickey

Director, CBS-7Y

A S ONE of a few people whoA hurr" had the opportunity ac-tually to produce and direct colortelevision broadcasts, I may there-fore, have some facts to add tothcory. If you asked me what is theprimary impression I retainedafter producing color television pro-grams, I would say that it is firstand foremost the sense of realismwhich color conveys. Whenever welook at reality it is color that givesit character and dimension. Colorgives distinction and aliveness toeverything we see.

What I'd like to tell you about issome of our experiences in doingevery kind of television program-ming in color. In January and Feb-ruary of this year CBS conductedan extensive color television broad-cast schedule in Washington inconnection with the color hearingsbefore the Federal CommunicationsCommission. When I was asked toproduce and direct the color pro-grams it looked at first as if wewould hardly be able to give theslightest idea of all the differentprograms to which color will add somuch. We had only a small radiostudio at our disposal, a single cam-era and were expected to presentsometimes as much as three hoursof programs a day-not to speak ofthe many hours of rehearsal time.These facilities seemed awfullymeagre to what I had been used toin black and white television atCBS in New York.

We should never have worried.For I must honestly say that whatwe discovered about the practicaluse of color television surprised us

ocToBER,.l950

as much as its brilliant pictures de-lighted those who saw them. Themain things we found out were thatcolor equipment is dependable, thatcolor programming is economical intime and money and that it opensup great new opportunities for tele-vision programming.

Equipment Dependoble

Rarely, I believe, has so muchbeen asked of any piece of televi-sion equipment without the chanceof continuous maintenance as wedemanded of this color camera. Oneday we'd broadcast and rehearsefrom 10:00 A.M. to 11:30 at nightat Station WTOP. The next morn-ing everything was loaded on atruck, carried to Turners Arenaand used for an outdoor pickup at12:00 noon. Although the sky wasovercast on those gray JanuarYdays, our pictures were clear andthe colors f aithful as we inter-viewed passers-by. In the afternoonone more move, and the camerawas set up inside the arena in prep-aration for the evening's boxingbout. You should have seen thisbroadcast. You could clearly distin-guish between the orange trunksof one contestant and the bluetrunks of the other. The muscles ofthe boxers in natural flesh tone, theblue haze of the smoke and the yel-low beams of the cpotlights-herewas not only an exciting fight, butalso an exciting picture. That samenight the equipment went back toWTOP, ready for broadcast thenext morning-and so it continuedday after day. A schedule which

brought every member of our staffalmost to the breaking Point, butnever broke the back of this onecolor camera: there was not a sin-gle broadcast which did not go onthe air as scheduled.

We put the equipment throughevery possible test. Twice a day webroadcast a 20-minute program todemonstrate the wide usefulnessof color. Among the items showrtwere: evening fashions, silkscarves, fruits and flowets, repro-ductions of var:ious paintings, mapsand charts, an Arthur MurraYdance team, a puppet show for chil-dren. In tlre evenings we presentedhalf-hour shows-just to mentiona few of the.m: Sorry, Wrong Num-ber, a dramatic program with MegMundy: F or Your Pleasure, a musi-cal with Earl Wrightson; The FaYeEmerson Show, Capitol Cloakroom;a documentary on the importanceof color rn;ith artist, John Gnagy;a program with live animals in con-junction with the National Zoologi-cal Society; Pullman Car Hiawatha,a dramatic program broadcast fromCatholic University; An Evening atthe National Gallery of Art; GoldenGloves Boxing from TurnersArena; a number of outdoor pick-ups and a program produced withthe Pan-American Union entitledNeighbors to the South.

Progromming Economicol

Color is economical. That maysound surprising to many who arefamiliar with the greatly increasedcost of color films and advertise-ments in full color. But color tele-

Producing TV Programs

—In COLOR

by Fred Rickey

Director, CBS-TV

AS ONE of a few people who have had the opportunity ac-

tually to produce and direct color television broadcasts, I may therefore, have some facts to add to theory. If you asked me what is the primary impression I retained after producing color television programs, I would say that it is first and foremost the sense of realism which color conveys. Whenever we look at reality it is color that gives it character and dimension. Color gives distinction and aliveness to everything we see.

What I'd like to tell you about is some of our experiences in doing every kind of television programming in color. In January and Feb- ruary of this year CBS conducted an extensive color television broadcast schedule in Washington in connection with the color hearings before the Federal Communications Commission. When I was asked to produce and direct the color programs it looked at first as if we would hardly be able to give the slightest idea of all the different programs to which color will add so much. We had only a small radio studio at our disposal, a single camera and were expected to present sometimes as much as three hours of programs a day—not to speak of the many hours of rehearsal time. These facilities seemed awfully meagre to what I had been used to in black and white television at CBS in New York.

We should never have worried. For I must honestly say that what we discovered about the practical use of color television surprised us

as much as its brilliant pictures de- lighted those who saw them. The main things we found out were that color equipment is dependable, that color programming is economical in time and money and that it opens up great new opportunities for television programming.

Equipment Dependable Rarely, I believe, has so much

been asked of any piece of television equipment without the chance of continuous maintenance as we demanded of this color camera. One day we'd broadcast and rehearse from 10:00 A.M. to 11:30 at night at Station WTOP. The next morning everything was loaded on a truck, carried to Turners Arena and used for an outdoor pickup at 12:00 noon. Although the sky was overcast on those gray January days, our pictures were clear and the colors faithful as we inter- viewed passers-by. In the afternoon one more move, and the camera was set up inside the arena in prep- aration for the evening's boxing bout. You should have seen this broadcast. You could clearly distin- guish between the orange trunks of one contestant and the blue trunks of the other. The muscles of the boxers in natural flesh tone, the blue haze of the smoke and the yel- low beams of the spotlights—here was not only an exciting fight, but also an exciting picture. That same night the equipment went back to WTOP, ready for broadcast the next morning—and so it continued day after day. A schedule which

brought every member of our staff almost to the breaking point, but never broke the back of this one color camera: there was not a single broadcast which did not go on the air as scheduled.

We put the equipment through every possible test. Twice a day we broadcast a 20-minute program to demonstrate the wide usefulness of color. Among the items shown were: evening fashions, silk scarves, fruits and flowers, repro- ductions of various paintings, maps and charts, an Arthur Murray dance team, a puppet show for children. In the evenings we presented half-hour shows—just to mention a few of them; Sorry, Wrong Num- ber, a dramatic program with Meg Mundy; For Your Pleasure, a musical with Earl Wrightson; The Faye Emerson Show, Capitol Cloakroom; a documentary on the importance of color with artist, John Gnagy; a program with live animals in conjunction with the National Zoologi- cal Society; Pullman Car Hiawatha, a dramatic program broadcast from Catholic University; An Evening at the National Gallery of Art; Golden Gloves Boxing from Turners Arena; a number of outdoor pick- ups and a program produced with the Pan-American Union entitled Neighbors to the South.

Programming Economical Color is economical. That may

sound surprising to many who are familiar with the greatly increased cost of color films and advertise- ments in full color. But color tele-

OCTOBER, 1950 5


FASHION SHOWS \,vere omong the voriety of color progrqms demonstrqtedbefore the FCC. Pictured on the right is the quthoi (center) directing.

vision differs basically little in costfrom present black and white tele-vision. The coior picture is so muchmore rich and life-lilie that it issimpler, and therefore more eco-nomical, tc create a pleasing televi-sion scene in eolor than it is to cre-ate an equal effect in black andwhite.

Let me illustrate what I meanprogramvrise: Our regular demon-stration broadcast had a very sim-ple opening. All you saw was a glassbowl of ciear water into which wedropped a red rose while the an-nouncer said: "Pure and clear asfresh water, rich and colorful as theflower of the garden is the world inwhich we live." This close-up of ared rose falling into crystal clearwater never failed to bring "oh's"and "ah's" from the hundreds ofspectators who had obtained theirtickets to watch CBS COLOR Tele-vision at the Walker Building inWashington. But just think of du-plicating the same scene in blackand white! What is there to it?Drop a grey rose into a bowl ofwater ! To create anything with thesame impact we would have had todevise an elaborate opening at fargreater expense.

How abcut the cost of color pro-gramming compared to presentblack and white operations? I cansay, after long experience in the di-rection of both black and white andcolor programs that cost of sets, oflighting and of costumes is not ex-pected to be higher for color tele-vision. The CBS production depart-ment has studied this matter verycarefully on the basis of actual op-erating experience.

As you know, most sets today arerendered in color, even for blackand white television, except that we

6

face today the added difficulty ofhaving to evaluate these colors interms of grey scales. Set design forcolor where we can judge muchmore accurately in advance how thescenery will look on the color screenis therefore not more complicatedor costly. In sets, as in the case ofcostumes, it will simply be a matterof picking the right colors, but notof creating essentially different andcostly effects.

As a matter of fact, there istestimony in the FCC Record fromothers who have done color televi-sion programming coinciding withour experience that color televisioncosts run parallel to those for blackand white,

Pictoriol Splendor

Perhaps the strongest impres-sion which all of us carried awaywas the new opportunity whichcolor opens up for programming.FCC Commissioner Frieda Hen-nock put it in these words: "Untilyou have seen it, you will not beable fully to grasp how significanta development this really is. It willbring a pictorial splendor rightinto your home. But it is important,aside from its beauty, in the newvistas of programming which itopens up. The entire field of fineart is automatically made a televi-sion subject. Color will make mean-ingful many subjects which wouldbe drab in monochrome. It reallyadds a nerv dimension to television,and it is impossible to express inquantitative terms the amount ofadditional intelligence which it canconvey."

Anyone who saw our broadcastfrom the National Gallery of Art,in which we televised the works of

great masters and let them come tolife in dance, music and fashion,will appreciate Miss Hennock'swords.

Naturally all programming willbe more attractive when we will beable to present it in color. But whenit. comes to programs of specialinterest to women, color brings newlife and new meaning. Fashions,fabrics, interior decoration andcooking are frequently meaninglessunless you can see them in color.Women are the principal shoppersin retail stores, and it is womenfor whom color television has greatappeal. I think it is safe to predictthat women's programming and thedisplay of commodities of specialinterest to women will finally comeinto their own on television whencolor is here.

And what an opportunity forchildren's programming. The worldof puppets and clowns, of animalsand circuses, of toys and the out-of-doors, comes to life in color. Onelittle scene during the public dem-onstration never failed to hit home.When Humpty Dumpty in brightred danced around on a green lawnto show his tricks to Alice in Won-derland, children were fascinated. . . and their parents with them.

It is hard to sum up the greatprogramming and merchandisingpotentialities of color television ina brief time, and it is even harderto write about color because youcan grasp its importance only whenyou see it. But at least I can sayas a result of my own experience,that color television is reliable,beautiful and vastly challenging.

A ROTATING color disc is presentlyrequired equipment for receiving CBS

color pictures.

TELEVISER

I

W H

f i 1

FASHION SHOWS were among the variety of color programs demonstrated before the FCC Pictured on the right is the author (center) directing

vision differs basically little in cost from present black and white television. The color picture is so much more rich and life-like that it is simpler, and therefore more economical, to create a pleasing television scene in color than it is to create an equal effect in black and white.

Let me illustrate what I mean programwise: Our regular demon- stration broadcast had a very simple opening. All you saw was a glass bowl of clear water into which we dropped a red rose while the announcer said: "Pure and clear as fresh water, rich and colorful as the flower of the garden is the world in which we live." This close-up of a red rose falling into crystal clear water never failed to bring "oh's" and "ah's" from the hundreds of spectators who had obtained their tickets to watch CBS COLOR Tele- vision at the Walker Building in Washington. But just think of du- plicating the same scene in black and white! What is there to it? Drop a grey rose into a bowl of water! To create anything with the same impact we would have had to devise an elaborate opening at far greater expense.

How about the cost of color programming compared to present black and white operations? I can say, after long experience in the di- rection of both black and white and color programs that cost of sets, of lighting and of costumes is not expected to be higher for color television. The CBS production depart- ment has studied this matter very carefully on the basis of actual operating experience.

As you know, most sets today are rendered in color, even for black and white television, except that we

face today the added difficulty of having to evaluate these colors in terms of grey scales. Set design for color where we can judge much more accurately in advance how the scenery will look on the color screen is therefore not more complicated or costly. In sets, as in the case of costumes, it will simply be a matter of picking the right colors, but not of creating essentially different and costly effects.

As a matter of fact, there is testimony in the FCC Record from others who have done color television programming coinciding with our experience that color television costs run parallel to those for black and white.

Pictorial Splendor

Perhaps the strongest impression which all of us carried away was the new opportunity which color opens up for programming. FCC Commissioner Frieda Hen- nock put it in these words; "Until you have seen it, you will not be able fully to grasp how significant a development this really is. It will bring a pictorial splendor right into your home. But it is important, aside from its beauty, in the new vistas of programming which it opens up. The entire field of fine art is automatically made a television subject. Color will make mean- ingful many subjects which would be drab in monochrome. It really adds a new dimension to television, and it is impossible to express in quantitative terms the amount of additional intelligence which it can convey."

Anyone who saw our broadcast from the National Gallery of Art, in which we televised the works of

great masters and let them come to life in dance, music and fashion, will appreciate Miss Hennock's words.

Naturally all programming will be more attractive when we will be able to present it in color. But when it comes to programs of special interest to women, color brings new life and new meaning. Fashions, fabrics, interior decoration and cooking are frequently meaningless unless you can see them in color. Women are the principal shoppers in retail stores, and it is women for whom color television has great

Jappeal. I think it is safe to predict that women's programming and the display of commodities of special interest to women will finally come into their own on television when color is here.

And what an opportunity for children's programming. The world of puppets and clowns, of animals and circuses, of toys and the out-of- doors, comes to life in color. One little scene during the public dem- onstration never failed to hit home. When Humpty Dumpty in bright red danced around on a green lawn to show his tricks to Alice in Won- derland, children were fascinated . . . and their parents with them.

It is hard to sum up the great programming and merchandising potentialities of color television in a brief time, and it is even harder to write about color because you can grasp its importance only when you see it. But at least I can say as a result of my own experience, that color television is reliable, beautiful and vastly challenging.

A ROTATING color disc is presently required equipment for receiving CBS

color pictures.

6 TELEVISER


TASTEST GROWIlIG TU IUIARKET

Ownership of TV sets within the WlW-Television area has increased more

than 6007o in the last year. During a recent four-months' period, growth ofset owners trrore than doubled the national rate-totaling 297,000

(unduplicated) as of August lst. It's the 2ND LARGEST TV MARKETIN THE MIDWEST . . . 6TH LARGEST IN THE NATION.

REACHTD IhOST ETTECIIUElYVideodex Reports for August prove that the three micro-wave-linked Crosley

Stations-WLW-T, Cincinnati; WLW-D, Dayton; and WLW-C, Columbus

-offer the best method of reaching this important TV market. WLW-Television has an average Share of Audience of 40.0%o trotn 11 A. M. t'o

11 P. M. seven days a week, as compared to an average of. 36.0Vo for the

five other stations located in the Wlw-Television area!

011 wlw-rEtEUlsl0ll .. o

Television

[[ll[[l-I [[l[[[l-D 1[ll[[l-cctl{ciltl{ATt DAYTol{ G0|UMBUS

NOW ON THE AIR DAIIY FROM 7z3O A. M. UNTII AFTER MIDNIGHT!

Service of the Nation's Station . Crosley Broadcastin{ Corp'oration

7

Ar LowEsr cosrOn a cost-per-thousand basis, Wlw-Television reached this large audience

at lowet cost than any other combination of the eight TV stations located

in these three cities. For complete information, contact any of the WLW-TVSales Offrces in New York, Chicago, Hollywood, Cincinnati, Dayton, orColumbus.

OCTOBER, I95O

FASTEST GROWING TV MARKET

Ownership of TV sets within the WLW-Television area has increased more

than 600% in the last year. During a recent four-months' period, growth of

set owners more than doubled the national rate—totaling 297,000

(unduplicated) as of August 1st. It's the 2ND LARGEST TV MARKET

IN THE MIDWEST . . . 6TH LARGEST IN THE NATION.

REACHED MOST EFFECTIVELY

Videodex Reports for August prove that the three micro-wave-linked Crosley

Stations—WLW-T, Cincinnati; WLW-D, Dayton; and WLW-C, Columbus

—offer the best method of reaching this important TV market. WLW-

Television has an average Share of Audience of 40.0% from 11 A. M. to

11 P. M. seven days a week, as compared to an average of 36.0% for the

five other stations located in the WLW-Television area!

AT LOWEST COST

On a cost-per-thousand basis, WLW-Television reaches this large audience

at lower cost than any other combination of the eight TV stations located

in these three cities. For complete information, contact any of the WLW-TV

Sales Offices in New York, Chicago, Hollywood, Cincinnati, Dayton, or

Columbus.

ON WLW-TELEVISION...

WLW-T WLW-D WLW-C

CINCiNNATI DAYTON COLUMBUS

NOW ON THE AIR DAILY FROM 7:30 A.M. UNTIL AFTER MIDNIGHT!

Television Service of the Nation's Station • Crosley Broadcasting Corporation

OCTOBER, 1950 7


Bqckground Fqcts

On Color Decisiona

N October 11 the FCC issueda decision favoring the CBS

color television system. EffectiveNov. 20, there will be two broad-casting standards for television,525 lines-60 fields for the presentblack and white and 405 lines-144fields for color.

The vote was 5 to 2. Commis-sioners George E. Sterling andFrieda B. Hannock dissented, feel-ing that the action was premature.

The Commission stated that theCTI and RCA systems had fallenshort of the minimum criteria ithad established for a color televi-sion system.

The Commission found the CTIsystem deficient in the followingrespecls:

"a) The quality of the color pic-ture is not satisfactory.

"b) There is serious degradationin quality of the black and whitepictures which existing receiversget from CTI color transmissions.

"c) The equipment utilized bythe CTI system both at the receiverand station end is unduly complex.

"d) Insufficient evidence wasoffered as to whether the systemis not unduly susceptible to in-terference."

RCA was found deficient in thefollowing respects;

"a) The color fidelity of the RCApicture is not satisfactory.

"b) The texture of the color pic-ture is not satisfactory.

"c) The receiving equipment uti-lized by the RCA system is exceed-ingly complex.

"d) The equipment utilized at thestation is exceedingly complex.

"e) The RCA color system ismuch more susceptible to certainkinds of interference than the pres-ent system of CBS.

8

"f) There is not adequate assur-ance in the record that RCA colorpictures can be transmitted overthe 2.7 megacycle coaxial cablefacilities.

"g) The RCA system has not metthe requirements of successful fieldfacilities.

In granting approval to the CBSsystem, the FCC declared, "TheCBS system produces a color pic-ture that is most satisfactory fromthe point of view of texture, colorfidelity and contrast. Receiversand station equipment are simpleto operate and receivers, when pro-duced on a mass marketing basis,should be within the economicreach of the great mass of purchas-ing public.

"Even with present equipmentthe CBS system can produce colorpictures of sufficient brightnesswithout objectionable flicker to be

COLORFUL HEADLINE

CBS color gets GREEN lighqSet monufocturers see RED;

Rest of industry is BLUE.

adequate for home use, and evi-dence concerning long persistencephosphors shows that there is aspecific method available for stillfurther increasing brightness withno objectionable flicker.

"While the CBS system has lessgeometric resolution than the pres-ent monochrome system, the addi-tion of color to the picture morethan outweighs the loss in geometricresolution as far as apparent defi-tion is concerned."

The CBS color television systemis a field sequential system. Thatis, colors are changed after each

vertical scanning period or field.There are 144 fields per second and,as in btack-and-white. 2 to 1 inter-lacing is employed'. The numberof lines per frame is 405, or 202.5per field (262.5 in black-and-white).Thus. the total number of linesper second, or horizontal line fre-quency, is 72 X 405 - 29,L60cycles per second. This is slightlyless than twice the black-and-white horizontal line frequency,which is 30 X 525 - 15,750 cyclesper second.

The colors are transmitted in thefollowing sequences: red, blue, andgreen. Each color lasts for l/144thof a second, and the color sequencerepeats itself after l/48t1l of. asecond. This period is called a colorframe inter"val. Since only one-half the number of lines will havebeen scanned in all colors in l/48Lhof a second, 'twice this period, or7/24th of a second, is required forall lines to be scanned in all colors.This period of L/24th of a secondis called a color picture interval.

The CBS color transmissionprocess works as follows: At thecamera, which is more or Iess ofconventional design, a single imageis produced by means of a lenson the light-sensitive surface ofthe pickup tube. A color filter disk,fully enclosed, rotates in front ofthis pickup tube and contains aseries of color filters in the orderof red, blue, and green. If the cam-era disk has 12 filters (4 red. 4green and 4 blue), the disk rotatesat 720 rpm. Every 7/144th of asecond, the camera scans electroni-cally the image to be transmittedfrom top to bottom, while one ofthe colors in the filter disk permits,let us say, only the red componentsof the scene to be picked up. The

TELEVISER

Background Facts

On Color Decision

ON October 11 the FCC issued a decision favoring the CBS

color television system. Effective Nov. 20, there will be two broadcasting standards for television, 525 lines-60 fields for the present black and white and 405 lines-144 fields for color.

The vote was 5 to 2. Commis- sioners George E. Sterling and Frieda B. Hannock dissented, feeling that the action was premature.

The Commission stated that the CTI and RCA systems had fallen short of the minimum criteria it had established for a color television system.

The Commission found the CTI system deficient in the following respects:

"a) The quality of the color picture is not satisfactory.

"b) There is serious degradation in quality of the black and white pictures which existing receivers get from CTI color transmissions.

"c) The equipment utilized by the CTI system both at the receiver and station end is unduly complex.

"d) Insufficient evidence was offered as to whether the system is not unduly susceptible to interference."

RCA was found deficient In the following respects:

"a) The color fidelity of the RCA picture is not satisfactory.

"b) The texture of the color picture is not satisfactory.

"c) The receiving equipment utilized by the RCA system is exceedingly complex.

"d) The equipment utilized at the station is exceedingly complex.

"e) The RCA color system is much more susceptible to certain kinds of interference than the present system of CBS.

"f) There is not adequate assur- ance m the record that RCA color pictures can be transmitted over the 2.7 megacycle coaxial cable facilities.

"g) The RCA system has not met the requirements of successful field facilities.

In granting approval to the CBS system, the FCC declared, "The CBS system produces a color picture that is most satisfactory from the point of view of texture, color fidelity and contrast. Receivers and station equipment are simple to operate and receivers, when produced on a mass marketing basis, should be within the economic reach of the great mass of purchasing public.

"Even with present equipment the CBS system can produce color pictures of sufficient brightness without objectionable flicker to be

COLORFUL HEADLINE

CBS color gets GREEN light; Set manufacturers see RED;

Rest of industry is BLUE.

adequate for home use, and evidence concerning long persistence phosphors shows that there is a specific method available for still further increasing brightness with no objectionable flicker.

"While the CBS system has less geometric resolution than the present monochrome system, the addition of color to the picture more than outweighs the loss in geometric resolution as far as apparent defi- tion is concerned."

The CBS color television system is a field sequential system. That is, colors are changed after each

vertical scanning period or field. There are 144 fields per second and, as in black-and-white, 2 to 1 inter- lacing is employed. The number of lines per frame is 405, or 202.5 per field (262.5 in black-and-white). Thus, the total number of lines per second, or horizontal line frequency, is 72 X 405 = 29,160 cycles per second. This is slightly less than twice the black-andwhite horizontal line frequency, which is 30 X 525 = 15,750 cycles per second.

The colors are transmitted in the following sequences: red, blue, and green. Each color lasts for l/144th of a second, and the color sequence repeats itself after l/48th of a second. This period is called a color frame interval. Since only one- half the number of lines will have been scanned in all colors in l/48th of a second, twice this period, or l/24th of a second, is required for all lines to be scanned in all colors. This period of l/24th of a second is called a color picture interval.

The CBS color transmission process works as follows: At the camera, which is more or less of conventional design, a single image is produced by means of a lens on the light-sensitive surface of the pickup tube. A color filter disk, fully enclosed, rotates in front of this pickup tube and contains a series of color filters in the order of red, blue, and green. If the camera disk has 12 filters (4 red, 4 green and 4 blue), the disk rotates at 720 rpm. Every l/144th of a second, the camera scans electroni- cally the image to be transmitted from top to bottom, while one of the colors in the filter disk permits, let us say, only the red components of the scene to be picked up. The

B TELEVISER


next \/I44th of a second, the bluefilter is between the lens and thecamera tube, and only the bluecomponents of the scene arescanned. Finally the same happensto the green components, Each com-plete picture contains 405 lines.and as pointed out earlier. threecolors are scanned in 1/48th of asecond. The vertical scanning rateot L/144th of a second is syn-chronized with the disk rotationand, in addition, an extra pulse isinserted in the transmitted signalevery third field (or every 1/48thof a secotd).

At the receiver', a color disk ro-tates in front of a cathode ray'image tube. This disk usually hassix filters, two sets of red, blue:rnd green, and rotates at 1440 rrcm.The disk is synchronized with thevertical scanning so that whenthe red filter is in front of thecamera tube the red segment isalso in front of the receiver tube.The impuise'inserted every 1,z48thof a second at the transmitter ner-mits the receiver disk to be phasedautomatically, if so desired. Thelapid rate of color. <.hanges, namely

144 times per second, creates acomplete fusion in the viewer's eyeat the receiver, so that he sees asmooth, steady color image, butactually tlansmitted is a sequenceof black-and-white pictures.

The mechanical wheel is not anintegral part of the CBS system,but it is the most satisfactorymethod now available for obtain-ing good color definition. Its fieldsequential color transmission couldbe picked up in any one of threedifferent ways:

a) Rotating color disc.b) Superimposition flom tbree

colol tubes.c) A single all-color tube.The present black and white sets

lrow on the market u'ill continue toreceive current black and whiteprograms. However an adapter isnecessary to receive color transmis-sions in black and white while aconverter is an additional require-ment for receiving the telecasts incolor. Several manufacturers haveindicated that they will producethese adapters and converters.Among these are Muntz, Tele-ToneRadio Colp., Television Equipment

Corp., Webster Chicago Corp., Hal-licrafters Co., and Celomat Corp.

The Philco Corp. and EmersonRadio and Phonograph Corp. areamong the various companies whohave indicated that they will buildcolor receivers and base output onpublic demand.

DuMont Labs. and AdmiralCorp. have flatly stated that theywill not build CBS type sets, whileRCA and Pilot Radio Corp. havefiled separate court suits seeking toprevent the Commission order frombecoming effective.

However, the success of the CBSsystem is probably more dependentupon public reaction than on legalor theoretical objections. At pres-ent that reaction can onlv beguessed at.

ocToBER, t950

next 1/144th of a second, the blue filter is between the lens and the camera tube, and only the blue components of the scene are scanned. Finally the same happens to the green components. Each complete picture contains 405 lines, and as pointed out earlier, three colors are scanned in l/48th of a second. The vertical scanning rate of l/144th of a second is synchronized with the disk rotation and, in addition, an extra pulse is inserted in the transmitted signal every third field (or every l/48th of a second).

At the receiver, a color disk rotates in front of a cathode ray image tube. This disk usually has six filters, two sets of red, blue and green, and rotates at 1440 rpm. The disk is synchronized with the vertical scanning so that when the red filter is in front of the camera tube the red segment is also in front of the receiver tube. The impulse inserted every l/48th of a second at the transmitter permits the receiver disk to be phased automaticallv, if so desired. The rapid rate of color changes, namely

144 times per second, creates a complete fusion in the viewer's eye at the receiver, so that he sees a smooth, steady color image, but actually transmitted is a sequence of black-and-white pictures.

The mechanical wheel is not an integral part of the CBS system, but it is the most satisfactory method now available for obtaining good color definition. Its field sequential color transmission could be picked up in any one of three different ways:

a) Rotating color disc. b) Superimposition from three

color tubes. c) A single all-color tube. The present black and white sets

now on the market will continue to receive current black and white programs. However an adapter is necessary to receive color transmissions in black and white while a converter is an additional requirement for receiving the telecasts in color. Several manufacturers have indicated that they will produce these adapters and converters. Among these are Muntz, Tele-Tone Radio Corp., Television Equipment

Corp., Webster Chicago Corp., Hal- Jicrafters Co., and Celomat Corp.

The Philco Corp. and Emerson Radio and Phonograph Corp. are among the various companies who have indicated that they will build color receivers and base output on public demand.

DuMont Labs, and Admiral Corp. have flatly stated that they will not build CBS type sets, while RCA and Pilot Radio Corp. have filed separate court suits seeking to prevent the Commission order from becoming effective.

However, the success of the CBS system is probably more dependent upon public reaction than on legal or theoretical objections. At present that reaction can only be guessed at.

IX

SO. DAK. MIMN. 7

JOWA

Iv

MS. \

MO. \

Tofk About

COVERAGE

Omaha TV Fans Know "The BEST to SEE Is On KMTV"

KMTV blankets the rich Omaha market with its 30,000- plus television sets. Mail response also shows that KMTV reaches into Iowa, Missouri, Kansas and South Dakota.

TWO GREAT NETWORKS With the top programs of two great networks. CBS and ABC, KMTV is recognized by viewers- -and acclaimed by advertisers—as Omaha's Number 1 Television Station. When you're in Omaha, tune to Channel 3 for top network and locally produced programs. When your adver tising is in Omaha, place it with KMTrawhere Omahans tune for television entertainment at its finest.

For All the Facts . . . Ask Your KATZ Man National Representatives

Kini^

Television

Center

CHANNEL 3 — OMAHA

OCTOBER, 1950 9


I

I

I

That Paid Off !o

by Robert E. Horuis

QNOW CROP is convinced thatL) television is the most effectivemedium yet devised for sellingfrozen foods. It will back that be-lief with well over a million dollarsof advertising on TV this Year.

It is presently sponsoring thefirst half-hour segment of SidCaesar's "Your Show of Shows"over NBC-TV and is a partici-pant on "Star Time" over DuMont.Next year's advertising budget mayexceed three million dollars withmost of it ear marked for television.

Why is Snow Crop Marketers sohigh on TV? Its own exciting suc-cess story as a new business con-cern is closely tied up with theeffectiveness of its video cam-paign.

Snow Crop had its beginningsin 1945 as a production and mar-keting organization. Together withVacuum Foods, it introduced andpromoted frozen orange juice forthe first time. As the productshowed definite signs of catchingon, Vacuum Foods decided to mar-ket it unCer the separate label ofMinute Maid.

Snow Crop Marketers, primarilyan organization of sales people,realized it would need a great dealof capital to equip itself for largescale production and distribution.In 7947 Clinton Industries suppliedit with the necessary funds andentered the retail marketing fieldfor the first time by obtaining 51%of the stock. The temaining 49/6was placed in escrow. Clinton, thethird largest corn refinery in thecountry, picked up thet remainingshares within nine months. SnowCrop Marketers is now, therefore,a division of Clinton Foods, Inc.

l0

Snotlt grop: A

-

Freeze on TI|

Last spring, after only fair suc-cess with other media, Snow Cropsecured a half-hour segment of thefinal five shows of Sid Caesar's"Saturday Night Review" overNBC-TV. It decided to test televi-sion's effectiveness with frozencoffee. This was considered thehardest item to sell, since it wasSnow Crop's newest and highestpriced product.

The response was immediate."TV had completely solved ourcoffee sales ptoblem," says Mr,Martin Mathews, Vice-President incharge of Sales and Advertising.

Very much impressed by the im-mediate impact on eonsumers andretailers, Snow Crop at once setabout altering its advertising bud-get. Money was taken from othermedia and diverted to TV.

When the Caesar show took itssummer hiatus, Snow Crop secureda fifteen-minute program featuringFaye Emerson in order to main-tain TV advertising continuity.Despite the fact that summer usu-ally brings a letdown in foodconsumption, sales of Snow Cropfrozen coffee and orange juicebroke all records.

Naturally when Sid Caesar re-turned to the air this winter. SnowCrop directed its agency, Maxon,Inc., to again secure a half-hoursegment on the full network.. Presently Snow Crop is in 41markets, live; 13 via kinescope re-cordings. On December 2, Houstonwill also receive a filmed versionbringinq the total number of citiesreached to 55.

Not content with this single ve-hicle, Snow Crop secured spot an-nouncements on the DuMont net-work's new show, "Star Time."

This program is carried by everystation available to the network.

The Du Mont show also serves toround out Snow Crop's TV cam-paign. A special offer is made on

the Saturday night Caesar showspurring sales oq Monday andTuesday. "Star Time" is televisedon Tuesday and thus can hYPo

sales for the balance of the week.During the summer of 1949 and

from October, 1949 to MaY, 1950,

Snow Crop also participated in a co-operative TV show, "Market Melo-dies," which is telecast during theday on WJZ-TV, New York.

Mr. Mathews indicates that aprime objective of future adver-tising plans will be to develop thecharacter of little Teddy SnowCrop. This appealing little bearhas always been Snow Crop's trademark. Television has offered theopportunity of giving it life andpersonality. In his little bear's cos-tnme, Stormy Bergh, a dwarf, hascreated a great deal of consumerinterest in Teddy, particularlYamong children.

Mr. Mathews hopes to eapitalizeon this interest much the sameway as Philip Morris Cigarettes hasdone with Johnny. Personal ap-pearances for Teddy and a contestto give him a new name are amongMr. Mathews' future plans. Al-though these plans are still in thenebulous stage, one thing is cer-tain. Television is the medium forSnow Crop. Mr. Mathews' only con-cern is getting the best audiencein relation to cost factors.

As his memo to all distributorsstates: "We've threatened . . ca-joled . . . pleaded . . . done every-thing possible to line up a stationin eyery market with Snow CroPcustomers,"

TELEVISER

Snow Crop: A Freeze on TV

—That Paid Off!

7 ■URs

5EJ te Mo Frozen

by Robert E. Harris

SNOW CROP is convinced that television is the most effective

medium yet devised for selling frozen foods. It will back that belief with well over a million dollars of advertising on TV this year.

It is presently sponsoring the first half-hour segment of Sid Caesar's "Your Show of Shows" over NBC-TV and is a partici- pant on "Star Time" over DuMont. Next year's advertising budget may exceed three million dollars with most of it ear marked for television.

Why is Snow Crop Marketers so high on TV? Its ovm exciting success story as a new business con- cern is closely tied up with the effectiveness of its video cam- paign.

Snow Crop had its beginnings in 1945 as a production and marketing organization. Together with Vacuum Foods, it introduced and promoted frozen orange juice for the first time. As the product showed definite signs of catching on, Vacuum Foods decided to market it under the separate label of Minute Maid.

Snow Crop Marketers, primarily an organization of sales people, realized it would need a great deal of capital to equip itself for large scale production and distribution. In 1947 Clinton Industries supplied it with the necessary funds and entered the retail marketing field for the first time by obtaining 51 % of the stock. The remaining 49% was placed in escrow. Clinton, the third largest corn refinery in the country, picked up the" remaining shares within nine months. Snow Crop Marketers is now, therefore, a division of Clinton Foocls, Inc

Last spring, after only fair success with other media, Snow Crop secured a half-hour segment of the final five shows of Sid Caesar's "Saturday Night Review" over NBC-TV. It decided to test television's effectiveness with frozen coffee. This was considered the hardest item to sell, since it was Snow Crop's newest and highest priced product.

The response was immediate. "TV had completely solved our coffee sales problem." says Mr. Martin Mathews, Vice-President in charge of Sales and Advertising.

Very much impressed by the immediate impact on consumers ana retailers, Snow Crop at once set about altering its advertising bud get. Money was taken from other media and diverted to TV.

When the Caesar show took its summer hiatus, Snow Crop secured a fifteen-minute program featuring Faye Emerson in order to maintain TV advertising continuity. Despite the fact that summer usually brings a letdown in food consumption, sales of Snow Crop frozen coffee and orange juice broke all records.

Naturally when Sid Caesar returned to the air this winter, Snow Crop directed its agency, Maxon, Inc., to again secure a half-hour segment on the full network.

Presently Snow Crop is in 41 markets, live; 13 via kinescope re- cordings. On December 2, Houston will also receive a filmed version bringirig; the total number of cities reached to 55.

Not content with this single ve- hicle, Snow Crop secured spot an- nouncements on the DuMont network's new show, "Star Time"

This program is carried by every station available to the network.

The Du Mont show also serves to round out Snow Crop's TV cam- paign. A special offer is made on the Saturday night Caesar show spurring sales on Monday and Tuesday. "Star Timelîs televised on Tuesday and thus can hypo sales for the balance of the week.

During the summer of 1949 and from October, 1949 to May, 1950, Snow Crop also participated in a co- operative TV show, "Market Melo- dies," which is telecast during the day on WJZ-TV, New York.

Mr. Mathews indicates that a prime objective of future advertising plans will be to develop the character of little Teddy Snow Crop. This appealing little bear has always been Snow Crop's trade mark. Television has offered the opportunity of giving it life and personality. In his little bear's cos- tume, Stormy Bergh, a dwarf, has created a great deal of consumer interest in Teddy, particularly among children.

Mr. Mathews hopes to capitalize on this interest much the same way as Philip Morris Cigarettes has done with Johnny. Personal ap- pearances for Teddy and a contest to give him a new name are among Mr. Mathews' future plans. Al- though these plans are still in the nebulous stage, one thing is certain. Television is the medium for Snow Crop. Mr. Mathews' only con- cern is getting the best audience in relation to cost factors.

As his memo to all distributors states: "We've threatened . . . ca- joled . . . pleaded . . . done everything possible to line up a station in every market with Snow Crop customers."

10 TELEViSER


t-

Do You [Veed,

Station Personnel?

lf You Want .

CAMERAMEN who know cameras, lenses,

lights, composition and general studio operations . . .

FILM MEN who know hoiw and where to pro-I

cure film, edit film, operate projectors . . .

CONTROL ROOM PERSONNEL *hoknow how to switch and shade, how to operate all

video and audio controls, who know FCC Rules &

Regulations.

o WRITERS who can write, produce and direct

shows, prepare commercial copy, and double in brass.

o PRODUCER-DIRECTORS'with a gift for

television showmanship, with a practical knowledge

of how to make a low budget go a long way . . .

Writet

TETEVISION T'VORKSHOPOF NEW YORK

1780 Broodwoy, New York 19, N. Y.

Mernber, T.B.A.

ocToBER, 1950

Do You Need

Station Personnel?

If You Want

• CAMERAMEN who know cameras, lenses,

lights, composition and general studio operations ...

i

• FILM MEN who know how and where to pro-

cure film, edit film, operate projectors . . .

• CONTROL ROOM PERSONNEL who

know how to switch and shade, how to operate all

video and audio controls, who know FCC Rules &

Regulations.

• WRITERS who can write, produce and direct

shows, prepare commercial copy, and double in brass.

• PRODUCER-DIRECTORS with a gift for

television showmanship, with a practical knowledge

of how to make a low budget go a long way . . .

Write:

TELEVISION WORKSHOP

OF NEW YORK

1780 Broadway, New York 19, N. Y.

Member, T.B.A.

MiiiiiniiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiniiiiiniiiiniiiiiiiiiiiiiiiiniiiiiiiiiniiiiiiiiiiiiiiiiiiiiiHiiniiiiniiiiiiiiiiiiiiiiiiiiiiiiiniiiiii^

OCTOBER, 1950 11


Cable Televisioneomes to the

CAROI,INA$

New selling power for you in the

Corolinos is ossured with the

octivotion of the co-oxiol coble.

August set soles, greotest in

the stotions' | 3-month history,

increose your oudience potentiol.

Direct, simultoneous progroms

from the four networks multiply

viewer interest.

ll0lll $tRl[ftG 0l|tR22,000 IU tflll|tilts

iltRRt0IT[, [. c.Jefferson Standard Broadcasting Company

Represented Nationally by Radio Saler

Prevent Shortages by

A SMALL station with a limitedIY budget and modest equipmentfor televising must rule out anylosses in terms of a televiewer'sblank screen. A program of prevent-ive maintenance should aid the op-erators of small TV stations instaying on the air and operating atpeak efficiency throughout the realand threatened shortages that facethe TV broadcasting industry.

There are no two exactly parallelsituations among TV broadcastersin their a.pproach to procurementand maintenance of replacement in-ventories for components of thestudio and transmrtter equipment.One large network studio reportsdifficulty in obtaining replacement"eyemo" tubes, as one maintenanceengineer described the image orthi-con. Others have not yet felt thepinch. Tube shortages at the manu-facturing level have not yet fullyextended to local distributor stocksto an alarming degree. The distrib-utors, nevertheless, are maintain-ing a close watch on their regularconsumers, in an effort to guardstocks against possible hoarding.There are, we are told, enoughtubes to meet the requirements thatcontinue in general as they haveheretofore. Any unexplained sud-den increase in purchases of cer-tain tubes brings into play self-im-posed small scale rationing by thesedistributors.

Individual components, otherthan resistances, are not as criticalas tubes. Resistances are reportedto be unavailable in specific valuesin sufficient quantities for manu-facturing requirements on domesticTV receivers. Distributors, how-ever, state that they are adequatelysupplied for normal replacement re-quiremenis but feel that unprece-dented increases in the need formaintenance purposes may not bemet.

A letter has come to our atten-tion from an importer who claimedthat American tube types werebeing manufactured in France, em-ploying tube element components

t

I

Preventive MaintenanoeBy Normon L. Cholfin

manufactured here. These wereoffered at a price about five per centhisher than the domestic list. AnAmerican TV set manufacturer hascontracted for a substantial seg-ment of this French tube manu-facturer's output, under its ownlabel.

Station management, faced withthe possibility of the situation be-coming critical, should review itsinventories and establish a safe re-placement: stock level and maintainit in small purchases.

The quantity of individual tubesor components in a particular TVequipment chain should determinethe inventory level. Each stationcan set its own level, while refer-ence to some of the large networkpractices can be made to establisha pattern. Items which are small innumber in the equipment are gen-erally maintained on a L00 per centreplacement stock on hand basis.Where there are 25 of an item inan equipment, a 40/6 replacement ismaintained by one network studioequipment maintenance depart-ment.

From the qtandpoint of opera-tional maintenance. the most criti-cal single item is the image orthi-con tube. The most particular indi-vidual problem with these tubes isthat of "sticking," or burning in.All tubes suffer this fault to someextent and there is no agreement asto the exact cause. It is known tobe more prevalent the sharper thefocus of images upon the tube. Thissuggests as a life extension tech-nique operating with softer focus-ing. This burning in is more likelyto persist into later use if the tubeis allowed to cool before the latentafter image is "burled off." Burn-ing off is accomplished by exposureto light in a defocused condition.It was suggested by one group thatrehearsal use of the cameras canbe arranged to employ larger cor-ner scans, and have the cornerspulled in for air time. At the CBSstudios the transmission of thecolor test pattern is accomplished

TELEVISERt2

I able Television

comes to the

SEPTEMBER 30th

CHICAGO BOSTON

NSW YORK. M PHlLADELPH lAcf

B ACT [MIRE t WASHINGTON a i

• •

CKARLOytr

-

Sv

New selling power for you in the

Corolinos is assured with the activation of the co-axial cable.

August set sales, greatest in

the stations' 1 3-month history, increase your audience potential. Direct, simultaneous programs' from the four networks multiply viewer interest.

noui servihg over

22,000 TV FRRIIEIES

UIBTV

CHflRLOTIt, 11. t.

Jefferson Sfandard Broadcasting Company

Represented Nationally by Radio Sales

Prevent Shortages by

Preventive Maintenance

By Norman L. Chalfin

A SMALL station with a limited budget and modest equipment

for televising must rule out any losses in terms of a televiewer's blank screen. A program of preventive maintenance should aid the op- erators of small TV stations in staying on the air and operating at peak efficiency throughout the real and threatened shortages that face the TV broadcasting industry.

There are no two exactly parallel situations among TV broadcasters in their approach to procurement and maintenance of replacement inventories for components of the studio and transmitter equipment. One large network studio reports difficulty in obtaining replacement "eyemo" tubes, as one maintenance engineer described the image orthicon. Others have not yet felt the pinch. Tube shortages at the manu- facturing level have not yet fully extended to local distributor stocks to an alarming degree. The distributors, nevertheless, are maintain- ing a close watch on their regular consumers, in an effort to guard stocks against possible hoarding. There are, we are told, enough tubes to meet the requirements that continue in general as they have heretofore. Any unexplained sud- den increase in purchases of certain tubes brings into play self-im- posed small scale rationing by these distributors.

Individual components, other than resistances, are not as critical as tubes. Resistances are reported to be unavailable in specific values in sufficient quantities for manu- facturing requirements on domestic TV receivers. Distributors, however, state that they are adequately supplied for normal replacement requirements but feel that unprece- dented increases in the need for maintenance purposes may not be met.

A letter has come to our attention from an importer who claimed that American tube types were being manufactured in France, em- ploying tube element components

manufactured here. These were offered at a price about five per cent higher than the domestic list. An American TV set manufacturer has contracted for a substantial segment of this French tube manufacturer's output, under its own label.

Station management, faced with the possibility of the situation becoming critical, should review its inventories and establish a safe replacement stock level and maintain it in small purchases.

The quantity of individual tubes or components in a particular TV equipment chain should determine the inventory level. Each station can set its own level, while reference to some of the large network practices can be made to establish a pattern. Items which are small in number in the equipment are generally maintained on a 100 per cent replacement stock on hand basis. Where there are 25 of an item in an equipment, a 40% replacement is maintained by one network studio equipment maintenance depart- ment.

From the standpoint of operational maintenance, the most critical single item is the image orthicon tube. The most particular individual problem with these tubes is that of "sticking," or burning in. All tubes suffer this fault to some extent and there is no agreement as to the exact cause. It is known to be more prevalent the sharper the focus of images upon the tube. This suggests as a life extension technique operating with softer focus- ing. This burning in is more likely to persist into later use if the tube is allowed to cool before the latent after image is "burned off." Burn- ing off is accomplished by exposure to light in a defocused condition. It was suggested by one group that rehearsal use of the cameras can be arranged to employ larger corner scans, and have the corners pulled in for air time. At the CBS studios the transmission of the color test pattern is accomplished

12 TELEVISER


II

while the pattern rotates befole thecolor camera. in order not to burnthe test pattern image into thephotomosaic.

The establishment and rigid ad-herence to a schedule of mainte-nance, following particularly therecommendations for routine check-ing outlined by the manufacturerof the equipment will pay off in in-creased life. Stations which employa minimum of equipment for studioor field use are frequently faced withthe necessity of using equipmentin and out of the studio with ex-tremely limited time alloted to setup and test. To avoid failures undersuch circumstances the test andmaintenance schedules must becarefully carried out. Where pos-sible, and necessary, short cutsfrom manufacturer recommendedpractice can be adopted when famil-iarity with the idiosyncrasies of theequipment permit this without lossof operating efficiency.

In much equipment an elapsedtime clock cumulates operatingtime. This provides a means of es-tablishing when tube replacementought to be made based on experi-ence with the equipment types. Itprevents over operating to an un-safe degree and permits setting upa program of replacement duringspeciflc operation intervals withoutstretching to that last hour whenfiaments "ain't givin."

Having the proper test apparatusis important in a program of pre-ventive maintenance. Emission test-ers for vacuum tubes will oftennot show conditions for which re-placement might be indicated. Atransconductance tester will bettershow when the tubes require re-placement.

Ageing of components goes on allthe time. In the TV equipmentchain the ageing process is has-tened when there are repeatedchanges of environment in whichthe equipment is used. The resultis slow, almost imperceptible deteri-oration which may not become ap-parent until it has progressed quitefar. In some studios routine check-ing shows these things up beforethere is an opportunity for deteri-orating components to effect soundones. In one studio each cameramanmakes adjustments on his camerabefore each assignment. Very often

ocroBER, t950

an individual using the same cam-era repeatedly can keep it better intrim than when the equipment ro-tates from hand to hand.

Several studios were questionedas to the values of "resting" TVstudio equipment. There is generalfeeling that no advantage is gainedthrough this technique and thatequipment in constant use performs

as well as if not better than restedor rotated units.

Larger studios have "johnnY-on-the-spot" maintenance crews avail-able the moment trouble appears.Smaller units must employ men-of-all-work, and still see that theirequipment receives care and atten-tion equal to that of the big boYs.Daity tests and checks will PaY offin continuous operation.

I

I

KLIEGL

PnrGH $y$TEMsimplifies ligrht controlin Television Studios

PROVIDES elficient Iccilities lor connectinq <rnd controlling the vcrietyoI lights used in television productions. Engineered in coniunction withsiudio technicicns, it meets d bcrsic need ol the industry. The system

hcs been cdopted cs stqndcrd prcctice by severcrl mcrior chcins; per-

miis substqntial reductions in opercling costa, and surpqsses cnythingheretolore qvqilcble in flexibility ol lighting crrctrgements. It cffords

cn cdequcte number ol individuclly-Iused, switch-controlled, conveni-

enilyJoccled light outlets . . . combined with meqns lor "pctching-in"

cny lights or group oI lights on dimming or non-dimming circuits. Itservices the entire studio, including ceiling qnd lloor.lights. Its mcnycdvcnlcrges will be mcde known to you upon request.

CATATOG TV.5contains a d,escription of the "parch system" and, also a

selectian ol lig,hting tutits especi.d.ly designeil lor tele-

uision purposes. Write lor a coyy for reference,

KTCIE@T BR@SUrrveRsar ErEcrRtc Sreer, Lrexvrxc Co..lrc.

ESTASLISHEO 1896

32a Wesr sOth SrneerNew Yonx 19, N.Y.

t3

while the pattern rotates before the color camera, in order not to burn the test pattern image into the photomosaic.

The establishment and rigid ad- herence to a schedule of maintenance, following particularly the recommendations for routine checking outlined by the manufacturer of the equipment will pay off in increased life. Stations which employ a minimum of equipment for studio or field use are frequently faced with the necessity of using equipment in and out of the studio with ex- tremely limited time alloted to set up and test. To avoid failures under such circumstances the test and maintenance schedules must be carefully carried out. Where possible, and necessary, short cuts from manufacturer recommended practice can be adopted when famil- iarity with the idiosyncrasies of the equipment permit this without loss of operating efficiency.

In much equipment an elapsed time clock cumulates operating time. This provides a means of es- tablishing when tube replacement ought to be made based on experience with the equipment types. It prevents over operating to an un- safe degree and permits setting up a program of replacement during specific operation intervals without stretching to that last hour when filaments "ain't givin."

Having the proper test apparatus is important in a program of preventive maintenance. Emission test- ers for vacuum tubes will often not show conditions for which replacement might be indicated. A transconductance tester will better show when the tubes require replacement.

Ageing of components goes on all the time. In the TV equipment chain the ageing process is has- tened when there are repeated changes of environment in which the equipment is used. The result is slow, almost imperceptible deteri- oration which may not become apparent until it has progressed quite far. In some studios routine checking shows these things up before there is an opportunity for deteri- orating components to effect sound ones. In one studio each cameraman makes adjustments on his camera before each assignment. Very often

an individual using the same camera repeatedly can keep it better in trim than when the equipment rotates from hand to hand.

Several studios were questioned as to the values of "resting" TV studio equipment. There is general feeling that no advantage is gained through this technique and that equipment in constant use performs

as well as if not better than rested or rotated units.

Larger studios have "johnny-on- the-spot" maintenance crews available the moment trouble appears. Smaller units must employ men-of- all-work, and still see that their equipment receives care and attention equal to that of the big boys. Daily tests and checks will pay off in continuous operation.

K LI EG L

Patch System

simplifies light control

in Television Studios

PROVIDES eificient facilities for connecting and controlling the variety of lights used in television productions. Engineered in conjunction with studio technicians, it meets a basic need of the industry. The system has been adopted as standard practice by several major chains; permits substantial reductions in operating costs, and surpasses anything heretofore available in flexibility of lighting arrangements. It affords an adequate number of individually-fused, switch-controlled, conveni- ently-located light outlets . . . combined with means for "patching-in" any lights or group of lights on dimming or non-dimming circuits. It services the entire studio, including ceiling and floor lights. Its many advantages will be made known to you upon request.

-$■ -i

mavm

CATALOG TV-5

contains a description of the "patch system" and also a selection of lighting units especially designed for tele vision purposes. Write for a copy for reference.

UKOL BIOS

Universal Electric Stage Lighting Co., inc. ESTABLISHED 1896

321 West 50th Street

NEW York 19, N.Y.

OCTOBER, 1950 13


Port Iby lrwin A. Shonerln

lU points fo, checltiog TV prod,uetion id,eas

Bef ore ord,ering a house f or$25,000, the wise purchaser makescertain tlmt it meets with his euactspecifi.cations. What are the specifi,-cations for a teleuision program be-fore i,t 'is put i,nto production attodag's high teleaision pri,ces? Theauthor, a producer of many teleai,-sion programs, has prepared, a listof twent.tl check-points. (or specifi-cations) agai.nst ,tohiclt anA Wo-gram idea can be checked, to Wede-termine its suitabi,lity for conl,nxer-cial teleoision: The first ten check-poi.nts are published, in tltis issue.The remai,ni,ng ten wi,IL be published,nert rnontlt.

l. ls it visuol?

This is the most important checkpoint for the producer. If a produc-tion idea is slim in visualness. itshould be abandoned before toomuch time, effort and budget areexpended in its behalf. To be ac-ceptable the idea must: a) haveinherent visual content or b) becapable of pictorial developmentthrough the use of film clips, photos,charts, dramatized skits, minia-tures, special effects, etc. Withoutimediate visual appeal and pictorialdevelopment as it progresses, theidea will be a TV dud.

2. ls the idea dynamic?

An idea may be rich in pictorialcontent (such as a travelogue or afashion show) but strongly lackingin the dynamic qualities necessaryto win and hold audience attention.Programs which consist mostly oftalk, or are lacking in visual action(academic adaptations of Shake-speare, slow-moving variety shows,and static discussion programs)will rate audience disfavor. Thedynamic program is characterizedby fast action, good pacing,,and astrong appeal to the human emo-tions. It is bold, provocative andcolorful; never lacks visuality orvitality. Beware of static programideas.

l4

3. Does opening get ottention?Can the show capture the atten-

tion of the home audience instanUyin the face of home distractionsor does the idea require many pre-cious minutes before it gets mov-ing? Unless you capture the audi-ence during the first few criticalminutes of each station's "curtaintime," a valuable number of yourviewers will switch to anotherchannel.

This can be prevented by openingwith an intensely dramatic se-quence, dynamic picture symbolism(judge's gavel, a gun clutched insomeone's hand, a cuckoo-clock,etc.), or by a forceful openingstatement (accompanied by appro-priate visual and sound effects) bythe master of ceremonies, commen-tator or narrator. The good televi-sion showman wins his audienceinstantly and holds it with a subtlepromise of things to come. Watchyour opening!

4. Cqn the show sustoin interest?Assuming the idea is strong

enough to win an audience at thestart, is there enough to the ideato hold an audience for the full half-hour or hour of the show, or willinterest u'ane after the first fewminutes? This will largely dependon the content of the show, arrange-ment of the parts, and skill in pre-sentation. If the jack-pot is won inthe first ten minutes of the show,what happens during the nexttwenty? If the main feature of thevariety show is presented first,what is to hold the audience untilthe final curtain ? If boy wins girlin the opening scene, everythingelse becomes anti-climatic.

The show must build in interest,excitement and pace as it unfolds. . . build toward a climax ! This istrue whether the show is a half-hour drama, a quiz program, or acooking show.

5. Has the ideo wide appeol?

Does the idea have universal aP-peal or is it limited to a handful ofviewers? Unless the program is in-tended specifically for women (day-time programs) or children (lateafternoon programs), television istoo expensive to play to a small, se-lect audience. It should have thewidest possible appe4l in order toreac.h the largest cross-section ofnight-time viewers. If it doesn't,the idea should be examined for itsday-time possibilities, or abandonedentirely.

6. Is it procticol lor television?

Often ideas come to televisionwhich are better suited for Holly-wood (from the standpoint ofbudget, mobility required, scope,physical requirements). Unless theprogram can be effectively producedin today's television studios withtheir limitations as to size, equip-ment, budget and personnel, per-haps you had better file the ideaaway for another day . . . or referit to a Hollyqrood producer. It iswell to remember that although ithas proven technically possible topick up e.rents from a moving air-plane, aircraft carriers and subma-rines, such pick-ups are not finan-cially feasible or technically practi-cal as a steady diet. So keep yourideas simple !

7. Is it originol?Original, fresh ideas have a bet-

ter chance of being considered thanideas which are simply variationsor embellishments of old ideas innew dress. However, since televi-sion studio programming stems.from radio, motion pictures, andthe stage (including vaudeville andburlesque) many hit piograms oftoday can be traced to their pre-television antecedents.

If the idea stems from radio.what program is:its prototype?

TETEVISER

Part I

by Irwin A. Shane

points for checking T\ production ideas

Before ordering a house for $25,000, the tvise purchaser makes certain that it meets with his exact specifications. What are the specifications for a television program before it is put into production at today's high television prices? The author, a producer of many television programs, has prepared a list of twenty check-points, (or specifications) against which any program idea can be checked to prede- termine its suitability for commercial television. The first ten check- points are published in this issue. The remaining ten will be published next month.

1. Is it visual? This is the most important check-

point for the producer. If a production idea is slim in visualness, it should be abandoned before too much time, effort and budg-et are expended in its behalf. To be acceptable the idea must: a) have inherent visual content or b) be capable of pictorial development through the use of film clips, photos, charts, dramatized skits, minia- tures, special effects, etc. Without imediate visual appeal and pictorial development as it progresses, the idea will be a TV dud.

2. Is the idea dynamic? An idea may be rich in pictorial

content (such as a travelogue or a fashion show) but strongly lacking in the dynamic qualities necessary to win and hold audience attention. Programs which consist mostly of talk, or are lacking in visual action (academic adaptations of Shake- speare, slow-moving variety shows, and static discussion programs) will rate audience disfavor. The dynamic program is characterized by fast action, good pacing, and a strong appeal to the human emo- tions. It is bold, provocative and colorful; never lacks visuality or vitality. Beware of static program ideas.

3. Does opening get attention? Can the show capture the atten-

tion of the home audience instantly in the face of home distractions or does the idea require many pre- cious minutes before it gets moving? Unless you capture the audience during the first few critical minutes of each station's "curtain time," a valuable number of your viewers will switch to another channel.

This can be prevented by opening with an intensely dramatic sequence, dynamic picture symbolism (judge's gavel, a gun clutched in someone's hand, a cuckoo-clock, etc.), or by a forceful opening statement (accompanied by appro- priate visual and sound effects) by the master of ceremonies, commen- tator or narrator. The good television showman wins his audience instantly and holds it with a subtle promise of things to come. Watch your opening!

4. Can the show sustain interest? Assuming the idea is strong

enough to win an audience at the start, is there enough to the idea to hold an audience for the full half- hour or hour of the show, or will interest wane after the first few minutes? This will largely depend on the content of the show, arrange- ment of the parts, and skill in presentation. If the jack-pot is won in the first ten minutes of the show, what happens during the next twenty? If the main feature of the variety show is presented first, what is to hold the audience until the final curtain? If boy wins girl in the opening scene, everything else becomes anti-climatic.

The show must build in interest, excitement and pace as it unfolds . . . build toward a climax! This is true whether the show is a half- hour drama, a quiz program, or a cooking show.

5. Has the idea wide appeal? Does the idea have universal ap-

peal or is it limited to a handful of viewers? Unless the program is in- tended specifically for women (day- time programs) or children (late afternoon programs), television is too expensive to play to a small, se- lect audience. It should have the widest possible appeal in order to reach the largest cross-section of night-time viewers. If it doesn't, the idea should be examined for its day-time possibilities, or abandoned entirely.

6. Is it practical for television? Often ideas come to television

which are better suited for Holly- wood (from the standpoint of budget, mobility required, scope, physical requirements). Unless the program can be effectively produced in today's television studios with their limitations as to size, equipment, budget and personnel, perhaps you had better file the idea away for another day ... or refer it to a Hollywood producer. It is well to remember that although it has proven technically possible to pick up events from a moving air- plane, aircraft carriers and subma- rines, such pick-ups are not finan- cially feasible or technically practical as a steady diet. So keep your ideas simple!

7. Is it original? Original, fresh ideas have a bet-

ter chance of being considered than ideas which are simply variations or embellishments of old ideas in new dress. However, since television studio programming stems from radio, motion pictures, and the stage (including vaudeville and burlesque) many hit programs of today can be traced to their pre- television antecedents.

If the idea stems from radio, what program is its prototype?

14 TELEVISER


What was its radio Hooper? Whowas its listening audience? Is itstill on radio?

If it rvas (or still is) a goodradio attraction, will it make suit-able television, keeping TV's visualdemand sharply in focus? Many aradio show (Mary Margaret Mc-Bride's initial TV try over NBC)has been zr video failure.

8. ls it in good toste?

A program is not in good tasteif it offends any portion of theviewing audience by slighting ref-erences to religion, polities or toone's country of origin, or provesoffensive to parents of growingchildren. Humor or gestures ofquestionable taste should be keptoff the air.

9. Will it lend itsell to o series?

If the idea has qualified as a pro-gram ide6 for television basedupon its visual, dynamic, interest-sustaining qualities, and meets thetests for practicality, wide-appeal,originality, and audience accepta-bility, it now faces the test thatstops many shows: is there enoughto the idea to carry it through aseries of at least 13 programs, andpossibly 26 and 52? If. it is a "one-shot" idea, it will find few takers,unless it is a special-event type ofprogram, planned for a specific time(Thanksgiving, Christmas, or NewYear's Day program). Every ideamust be examined with a series inmind. Sponsors can be sold on aseries, but not on single programs.

10. Is"name" tolent required?

Often shows are planned around"name" personalities, when in fact,the so-called "name" personalitiesare not even available for the series.Hollywood, the stage, and radiocommitments may often prevent a"name" personality from partici-pating in a television program, letalone a series, If "name" talent isplanned, be sure you have it in writ-ing. Hollywood personalities areflocking to TV in ever increasingnumbers, but only when they arebetween contracts and when thereare no strings to their video ven-tures. Occasionally there.is the ir-responsible producer who has de-veloped an idea around a certain"name," but who possesses no au-thorization to offer the personalityas part of the "package."

ocroBER, 1950

This is the eighth in o series on vorious TV positions

Traffie

rnHE duties of a traffic manag'erI are so multitudinous and variedthat perhaps the first requirementshould be that one have the physi-cal attributes of an octopus. Sinceeight-armed traffic managers arerather scarce the best substitute isone with a level head who can copewith the many last minute emer-gencies which arise. He must beable to handle the thousand and onesmall details necessary to keep op-erations flowing smoothly.

To be specific, my duties includescheduling the daily operational logwhich must be distributed to all de-partments in order that the day'swork can be assembled before sign-on time. This log contains eachkinescope and film number to beused and indicates .the networkfrom which each program origi-nates. A make-up reel sheet mustbe compiled every day for the pro-jectionist specifying the projector,reel and film to be used in eachinstance.

In addition, weekly availabilitysheets must be prepared for localand national salesmen to advisethem of what has been sold, dura-tion of contracts, program adjacen-cies to spot availabilities, and infor-mation about loeal shows anddetailed costs. I draw up contractsfor all local accounts, and fromthese contracts make up accountsheets which are used to prepareand check bills. In this connection apassing acquaintanceship of ac-counting is a definite asset. It isalso necessary for me to check na-

Nfanagerhy Betty Baltz Reinecke

T rollic Monager, WT AR-TV

Born in New Rochelle, New Yor* {wenty-seyen yeors ogo, BettyBoltz Reinecke ottended Kauko College, N. Y. ond the College otWilliam ond Mary. She wo*ed in the time buying depaftment olYoung and Rubicam lor three yeors ond in 1948 ioined V'/TAR-TVin Norlolk, Ya,

tional contracts before they aresigned and returned.

Besides working with the publicservice director to schedule pro-grams in the public interest, I mustalso assist the production managerin cases where participating pro-grams have been sold for singlesponsorship, or where local pro-grams have been sold on networkoption time and have to be resched-uled because of network recaptureof the time.

Finally, I must notify the Na-tional B r oa dcast i ng Company(WTAR-TV is affiliated with fournetworks) when we carry networkshows other than theirs in orderthat our seivice may be switched.

Above all-and this is of courseimplicit in everything I've said-the traffic manager must be loyal tothe policies and personnel of his sta-tion and to the responsibilitiesplaced upon him.

rE lEUlSl0tLaboratorv and rheoretical instruc-tion undei the suidance of exDerts,covering all cdchnical phasec ofRadio, Frequency Modulation andTelevision. Prepates for opportuni-ties in Broadcasting. Ess'ential In-dustry or Own Business.

ToTAL TUlllol{ $450. l{O EXIRAS,f,lorn., Aft., or Eve. lncll Weekly Pdydstt.free Plocemenl Service, Stote licensed.

APPROVED FOR VETERANS.EIIROLL NOW FOB NEW CLASSES

.. Apply DailY 9-9; sat. 9-2VlSlT. WRITE or PHONE

nADr0-TErEUIS|011.I1{STITUTE t

lioror |l fclcyirion Troining lin<c l93l480 lQringtor lre., ll. V. tt (46th St.)?loro ?.5665 2 llork: frcn Grond Ccnltcl

What was its radio Hooper? Who was its listening audience? Is it still on radio?

If it was (or still is) a good radio attraction, will it make suit- able television, keeping TV's visual demand sharply in focus? Many a radio show (Mary Margaret Mc- Bride's initial TV try over NBC) has been a video failure.

8. Is it in good taste? A program is not in good taste

if it offends any portion of the viewing audience by slighting ref- erences to religion, politics or to one's country of origin, or proves offensive to parents of growing children. Humor or gestures of questionable taste should be kept off the air.

9. Will it lend itself to a series? If the idea has qualified as a pro-

gram idea for television based upon its visual, dynamic, interest- sustaining qualities, and meets the tests for practicality, wide-appeal, originality, and audience accepta- bility, it now faces the test that stops many shows: is there enough to the idea to carry it through a series of at least 13 programs, and possibly 26 and 52? If it is a "one- shot" idea, it will find few takers, unless it is a special-event type of program, planned for a specific time (Thanksgiving, Christmas, or New Year's Day program). Every idea must be examined with a series in mind. Sponsors can be sold on a series, but not on single programs.

10. Is "name" talent required? Often shows are planned around

"name" personalities, when in fact, the so-called "name" personalities are not even available for the series. Hollywood, the stage, and radio commitments may often prevent a "name" personality from participating in a television program, let alone a series. If "name" talent is planned, be sure you have it in writ- ing. Hollywood personalities are flocking to TV in ever increasing numbers, but only when they are between contracts and when there are no strings to their video ven- tures. Occasionally there-is the ir- responsible producer who has developed an idea around a certain "name," but who possesses no au- thorization to offer the personality as part of the "package."

This is the eighth in a series on various TV positions

T raffle

JUaoaêr

by Betty Baltz Reinecke

Traffic Manager, WTAR-TV

Born in New Rochelle, New York twenty-seven years ago, Betty Baltz Reinecke attended Kauka College, N. Y. and the College of William and Mary. She worked in the time buying department of Young and Rubicam for three years and in 1948 joined WT AR-TV in Norfolk, Va. ...

THE duties of a traffic manager are so multitudinous and varied

that perhaps the first requirement should be that one have the physical attributes of an octopus. Since eight-armed traffic managers are rather scarce the best substitute is one with a level head who can cope with the many last minute emer- gencies which arise. He must be able to handle the thousand and one small details necessary to keep operations flowing smoothly.

To be specific, my duties include scheduling the daily operational log which must be distributed to all de- partments in order that the day's work can be assembled before sign- on time. This log contains each kinescope and film number to be used and indicates the network from which each program origi- nates. A make-up reel sheet must be compiled every day for the pro- jectionist specifying the projector, reel and film to be used in each instance.

In addition, weekly availability sheets must be prepared for local and national salesmen to advise them of what has been sold, dura- tion of contracts, program adjacen- cies to spot availabilities, and information about local shows and detailed costs. I draw up contracts for all local accounts, and from these contracts make up account sheets which are used to prepare and check bills. In this connection a passing acquaintanceship of ac- counting is a definite asset. It is also necessary for me to check na-

tional contracts before they are signed and returned.

Besides working with the public service director to schedule programs in the public interest, I must also assist the production manager in cases where participating programs have been sold for single sponsorship, or where local programs have been sold on ne+work option time and have to be resched- uled because of network recapture of the time.

Finally, I must notify the Na- tional Broadcasting Company (WTAR-TV is affiliated with four networks) when we carry network shows other than theirs in order that our service may be switched.

Above all—and this is of course implicit in everything I've said— the traffic manager must be loyal to the policies and personnel of his station and to the responsibilities placed upon him.

TELEVISbON Laboratory and theoretical instruc- tion under the guidance of experts, covering all technical phases of Radio, Frequency Modulation and Television. Prepares for opportunities in Broadcasting. Essential In- dustry or Own Business.

TOTAL TUITION $450. NO EXTRAS. Morn., Aft., or Eve. Small Weekly Payments. Free Placement Service. State Licensed.

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OCTOBER, 1950 15


i

When TV

Moves ln

f UST what happens to peopleaf when television becomes a partof their lives ? How drastically aretheir living habits altered? In aneffort to furnish an answer the Uni-versity of Oklahoma conducted atwelve month survey (June, 194gto May, 1950) in two typicallyAmerican communities. OklahomaCity with a population of 240.000and Norman, Oklahoma, a univer-sity town of 24,000. An added ad-vantage was the difference in sizeand type of towns.

The survey was conducted inthree parts: (a) pre-TV, (b) 6months post-TV, and (c) 12 monthspost-TV. The entire study includeda total of 3,615 family interviews,with 2,864 different families. 20.7%of all interviews were "repeats,';i.e., families which had been inter-viewed previously. 433% of the TVfamily interviews at the six monthperiod were families who had beeninterviewed in the pre-TV study.27.5% of the TV families inter-viewed at the twelve month periodwere "repeats" who had been TVowners at the six month period.Sampling was distributed accord-ing to density of population, andequally throughout the days of theweek.

An attempt was made to makeanswers as precise as possible. In-terviewees were asked to pin their.answers to specific time periods:for example, "How long was yourradio turned on yesterday morn-ing?", "How many movies did yougo to during this past u)eek?"

A statistical summary with arunning commentary highliehtingthe salient points follows. As youwill see, television has trulywraught great changes.

t6

Pre-TV6 months

Post-TV12 months

Post-TV

AVENAGD NUMBER OF SETS IN HOMESRad,io Homes Teleaision Homes

L.64 1.70 2.16

1.00

1.00

IncomeLeael

Lowest thirdMiddle thirdHighest third

Percentage olAll Sets

. 7.843.1.

_N9rma1 O. City Norman Oklahoma CityRad,ios Rad,ios Rqd.ios TV Sets Rad,ios TV Seti

2.00

1.87 2.07 2.50

1.63 1.66 2.33

There was no tendency for TV homes to reduce their number of radiosets in spite of generous trade-in offers. Morever, the people who purchasedtelevision sets during the first year were families who-had two or threeradios in the home, in contrast to typical radio listeners who had one ortwo sets. This fact may indicate a higher interest in broadcast programsbut seems more likely to be related to the income level of the purchasers.

TV SET OWNERSHIP BY INCOME LEVEL

2.65 1.00

2.L5 1.00

_ . As might be expected there is a definite relationship between ser owner-

ship and income, with the higher income families not only owning moreradio sets per family, but also being among the first to purchase TV re-ceivers. The situation is further emphasized by the fact ihat only g/e ofthe low income half of the families have TV receivers while 25/6 oi the topincome families have them.

49.0

AVERAGE HOURS OF LISTENING PER DAY

Pre-TV

Norman Oklahoma CityRa.d.io TV Radio TV5.89 5.09

6 months Post-TVRadio families _____-..______ 4.78 4.78TV families 4.02 2.68 '4.49 2.76

12 month Post-TV:Radio families --__.___--.-.. 4.77 4.57TV families g.4L 2.66 2.86 Z.6E

The eombined listening and viewing of rv owners is (a) greater thanthat of radio-only families and (b) greater than it was for the same fami-lies before they acquired rv sets. More important, perhaps, is the sharpdecline in radio listening in TV families.

WHO LISTENS MOST?

Radio TeleaisionFamilies Families28.5% 18.7%20.4% 25.0%24.4% 27.2%26.5% 29.5%no difference .,.--.---...---

Apparently the woman in theas the dominant listener to radiotelevision came into the home. Theto the fact that TV programmingevening hours.

Woman -.

ManChildrenFamily or

family, who lras always been acceptedprograms, has had to give way when

shift can, in no small part, be attributedin the area is concentrated during the

TELEVISER

AVERAGE NUMBER OF SETS IN HOMES

When TV

Moves In

JUST what happens to people when television becomes a part

of their lives? How drastically are their living habits altered? In an effort to furnish an answer the Uni- versity of Oklahoma conducted a twelve month survey (June, 1949 to May, 1950) in two typically American communities, Oklahoma City with a population of 240,000 and Norman, Oklahoma, a university town of 24,000. An added advantage was the difference in size and type of towns.

The survey was conducted in three parts: (a) pre-TV, (b) 6 months post-TV, and (c) 12 months post-TV. The entire study included a total of 3,615 family interviews, with 2,864 different families. 20.7% of all interviews were "repeats"; i.e., families which had been inter- viewed previously. 43.3% of the TV family interviews at the six month period were families who had been interviewed in the pre-TV study. 27.5% of the TV families inter- viewed at the twelve month period were "repeats" who had been TV owners at the six month period. Sampling was distributed accord- ing to density of population, and equally throughout the days of the week.

An attempt was made to make answers as precise as possible. In- terviewees were asked to pin their answers to specific time periods: for example, "How long was your radio turned on yesterday morning?", "How many movies did you go to during this past week?"

A statistical summary with a running commentary highlighting the salient points follows. As you will see, television has truly wraught great changes.

16

Radio Homes Television Homes Norman O. City Norman Oklahoma City

Radios Radios Radios TV Sets Radios TV Sets Pre-TV 1.64 1.70 2.16 2.00 6 months

Post-TV 1.87 2.07 2.50 1.00 2.65 1.00 12 months

Post-TV 1.63 1.66 2.33 1.00 2.15 1.00

There was no tendency for TV homes to reduce their number of radio sets in spite of generous trade-in offers. Morever, the people who purchased television sets during the first year were families who had two or three radios in the home, in contrast to typical radio listeners who had one or two sets. This fact may indicate a higher interest in broadcast programs but seems more likely to be related to the income level of the purchasers.

TV SET OWNERSHIP BY INCOME LEVEL

Income Percentage of Level All Sets

Lowest third y.g Middle third 43.1 Highest third 49.0

As might be expected there is a definite relationship between set ownership and income, with the higher income families not only owning more radio sets per family, but also being among the first to purchase TV receivers. The situation is further emphasized by the fact that only 8% of the low income half of the families have TV receivers while 25% of the top income families have them.

AVERAGE HOURS OF LISTENING PER DAY

Norman Oklahoma City Radio TV Radio TV

Pre-TV 5.89 5.09 6 months Post-TV

Radio families 4.78 4.78 TV families 4.02 2.68 4.43 2.76

12 month Post-TV: Radio families 4.77 4.57 TV families 3.41 2.66 2.86 2.65

The combined listening and viewing of TV owners is (a) greater than that of radio-only families and (b) greater than it was for the same families before they acquired TV sets. More important, perhaps, is the sharp decline in radio listening in TV families.

WHO LISTENS MOST?

Radio Television Families Families

Woman 28.5% 18.1% Man 20.4% 25.0% Children 24.4% 27.2% Family or no difference 26.5% 29.5%

Apparently the woman in the family, who has always been accepted as the dominant listener to radio programs, has had to give way when television came into the home. The shift can, in no small part, be attributed to the fact that TV programming in the area is concentrated during the evening hours.

TELEVISER


Pre-TV . . _._...

6 monthsPost-TV

12 monthsPost-TV

The evidence indicatesmarked way. In the case ofwas not included.

that television cutsNorman, a university

BOOKS READ PER MONTH: AVERAGESNorman

Rad,i.o TV-se.tOwners Oumers

Oklahoma CityRadio TV-set

Owners Owners.280 .567

.198 .329

.287 .L52into book reading in atown, text-book reading

.423

.279

.357

.375

.200

.213

WEEKLY ATTENDANCE AT SPORTING EVENTS: AVERAGESNorman Oklahoma City

Radio TV-set Radio TV-setOwners Owners Owners Owners

Pre-TV .175 .166 .262 .3406 months

Post-TV .263 .220 .14L .19012 months

Post-TV .268 .272 .280 .347The evidence does not indicate that television in this area has resulted

in decreased attendance at paid sporting events.

L.49

Post-TV12 months

Post-TV

3.04 t.54 3.L7

.938 3.98 1.06 3.60Television set owners have guests in the home more frequently than

their radio-owning neighbors. It seems likely that TV-viewing bringsmore guests into the home, as in three out of four comparisons TV ownersentertained more after purchasing their sets than they had previously.

MOVIE ATTENDANCE PER WEEK: AVERAGESNorman Oklahoma City

Rod,i,o TV-set Rad,io TV-setOwners Owners Owners Owners

.629 .500 .800 .636

.630 .420 .645 .543

Pre-TV6 months Post-TV12 months Post-TV

The evidence does not indicatepapers either more or less thanradio set owners.

OCTOBER, I95O

GUESTS IN THE HOME, TIMES PERNorman

Radio TV-setOwners Owners

WEEK: AVERAGESOklahoma CityRad,io TV-set

Owners Owners1.38 2.00

,.AURICO]{-PRO'' CAtYlERA

200 fl. l6mmSound-on{i|m...... $llglss

Pre-TV6 months

Pre-TV6 months Post-TV --.

1.65

1.95

12 months Post-TV ----.----- .505 .427 .457 .891Movie attendance has decreased among TV owners; however, it has

also decreased among radio-only owners. Furthermore, the people who pur-chased TV sets during the first year of television programming in thearea tended to go to fewer movies than other people even before theymade their TV set purchases.

NEWSPAPER READING, MINATES PER DAY: AVERAGESNorman Oklahoma City

Radio TV-set Rad,io TV-setOwners Ou:ners Owners Owners

53 68 61 5952 61 58 5352 43 51 66

that TV users are reading their news-they used to, nor more or less than

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BOOKS READ PER MONTH-. AVERAGES Norman Oklahoma City

Radio TV-set Radio TV-set Owners Owners Owners Owners

Pre-TV .423 .375 .280 .567 6 months

Post-TV .279 .200 .198 .329 12 months

Post-TV .357 .213 .287 .152 The evidence indicates that television cuts into book reading in a

marked way. In the case of Norman, a university town, text-book reading was not included.

WEEKLY ATTENDANCE AT SPORTING EVENTS: AVERAGES Norman Oklahoma City


Pre-TV .175 .166 .262 .340 6 months

Post-TV .263 .220 .141 .190 12 months

Post-TV .268 .272 .230 .347 The evidence does not indicate that television in this area has resulted

in decreased attendance at paid sporting events.

GUESTS IN THE HOME, TIMES PER WEEK: AVERAGES Norman Oklahoma City

Radio TV-set Radio TV-set Owners Oivners Owners Owners

Pre-TV 1.65 1.49 1.38 2.00 6 months

Post-TV 1.95 3.04 1.54 3.17 12 months

Post-TV .938 3.98 1.06 3.60 Television set owners have guests in the home more frequently than

their radio-owning neighbors. It seems likely that TV-viewing brings more guests into the home, as in three out of four comparisons TV owners entertained more after purchasing their sets than they had previously.

MOVIE ATTENDANCE PER WEEK: AVERAGES Norman Oklahoma City

Radio TV-set Radio TV-set Oivners Owners Owners Owners

Pre-TV 629 .500 .800 .636 6 months Post-TV .630 .420 .645 .543 12 months Post-TV .505 .427 .457 .391

Movie attendance has decreased among TV owners; however, it has also decreased among radio-only owners. Furthermore, the people who purchased TV sets during the first year of television programming in the area tended to go to fewer movies than other people even before they made their TV set purchases.

NEWSPAPER READING, MINUTES PER DAY: AVERAGES Norman Oklahoma City


Pre-TV ,.... 53 68 61 59 6 months Post-TV 52 61 58 53 12 months Post-TV 52 43 51 66

The evidence does not indicate that TV users are reading their newspapers either more or less than they used to, nor more or less than radio set owners.

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OCTOBER, 1950 17


I

Teleoisergru,Trhby Mox Fleischer

Donny Thomos Premiere

Scores High Roting

Show: Four Stor RevueMC or Stor: Donny ThomosStqtion: WNBT-TVChonnel: 4Time: 8:00 P.M.Dote: October ll, 1950

8:00 P.M. Show opened with pan-orama of Motorola products. At-tractively pictured and photo-graphed. All smoothly accomplishedby skillful hands. A dignified com-mercial opening. (A.A. 50 to 52)

8:02 P.M. Danny Thomas madehis appearance as a shy, embar-rassed newcomer to TV, with hisback to the audience. He was in-duced to turn around and face themusic. A little long in the doing,but sufficiently interesting for anopening sequence. In the patter andsong which followed, Danny provedhimself to be a problematic humor-ist, culling most of his fun fromthe bitter sides of life. A sort ofironic humor, which, nevertheless,was quite acceptable. Danny fre-

n)

AMP

P70EA60L

50

2E

0

r8

coquently assumed stark seriousness,but never failed to wind up with anexplosive gag which registered re-markably -,ell. (A.A. 52 to 70)

8:11 P.M. Unannounced dance se-quence followed the blackout. Theroutine was staged in the surround-ings of a dancing school for girls,and proveci exceptionally fresh andinteresting. This group must havecrashed the Four Star Revue party.

a

At least it seemed so, for the groupcame into being out of nowhere andfaded into oblivion with not theslightest sign of farewell. If thegroup was worth booking, it wasmost certainly worth a nod fromsomeone, somewhere, somehow.( A.A. 70 to 72)

.

8:16 P.NL Marie McDonald (thebody) took the stage. The wholestage. Danny was also there. Thechit chat held up very well despitethe fact that Marie's presencedropped all else to secondary value.(A.A.72 to 78)

8:23 P.M. The dance team of Har-rison and Fisher. Graceful dancerswho seemed to be undecided as towhether their routine should bedignifled or burlesque. Definitely,the couple displayed considerablymore grace than humor. (A.A. 78)8:28 P.M. Title card heralds"Drama In The News." A bit. inwhich Danny dramatically reads aletter from a Korean GI to his fam-ily. This sequence proved somewhatdisappointing, since change ofshow texture was unexpected. Con-sequently, fully a third of the grim

Besides his well-knovn work in the motion picture industry os producer ond directorof his ovn orgonizotions, Mox Fleischer hos hod extensiye experience in television. Hebegon his experiments with picfure telecosting in 1934, when he ossisted the British Brood-costing compony in tests conducted from Modison squore Gorden. ln this stort, he wosthe first to televise o cortoon chorocter (Betty Boop) in oction, vith himself in the oct ofdroving _on the lelevision screen. Accordingly, thl new'medium is sixteen yeors old for Fleischer.

ln 1944, Fleischer designed the first outomotic Revievgroph. Thii instrument recordedminute by' minute opinions during the progress of performoncis. He hos used the methodever since with highly sotisfoctory results.

. The Televisergroph-bosed on this device-is not the product of o personolity. lt is,rother, o recording_of on olserver, experienced in the reoctions'of the generol'public, en mosse.. In other words, the Televisergroph does not portroy the personcl likes'ond'dislikes of

the groph operotor. The groph represents the operotor's evoluotion of moss reoction toincidents. irrespective of his personol opinions.

GRAPH KEY

Appeol Line No. 05. ...Toleronce LineAbove "Apeol" Line No. 50..... .......Sofe AreoBelov "Appeol" Line No. 50 Toleronce Folls RopidlyNumberols Above Groph. .......presentotion by MinutesNumerols ot Left of Groph. . . . . .Audience Appeol

TELEVISER

plevisergrap

Danny Thomas Premiere

Scores Hi-jh Rating

by Max Fleischer

Show: MC or Star: Station: Channel: Time: Date:

Four Star Revue Danny Thomas WNBT TV 4 8:00 P.M October 11, 1950

Besides his well-known work in the motion picture industry as producer and director of his own organizations. Max Fleischer has had extensive experience in television. He began his experiments with picture telecasting in 1934, when he assisted the British Broad- casting Company in tests conducted fro:' Madison Square Garden. In this start, he was the first to televise a cartoon character (Betty Boop) in action, with himself in the act of drawing on the television screen. Accordingly, the new medium is sixteen years old tor Fleischer.

In 1944, Fleischer des..'ned the first automatic Reviewgraph. This instrument recorded minute by minute opinions during the progress of performances. He has used the method ever since with highly satisfactory results.

The Televisergraph—based on this device—is not the product of a personality. It is, rather, a recording of an observer, experienced in the reactions of the general public, en masse.

In other words, the Televisergraph does not portray the personal likes and aislikes of the graph operator. The graph represents the operator's evaluation of mass reaction to incidents, irrespective of his personal opinions.

8:00 P.M. Show opened with pan- orama of Motorola products. At- tractively pictured and photographed. All smoothly accomplished by skillful hands. A dignified commercial opening. (A.A. 50 to 52)

8:02 PM Danny Thomas made his appearance as a shy, embar- rassed newcomer to TV, with his back to the audience. He was in- duced to turn around and face the music. A little long in the doing, but sufficiently interesting for an opening sequence. In the patter and song which followed, Danny proved himself to be a problematic humor- ist, culling most of his fun from the bitter sides of life. A sort of ironic humor, which, nevertheless, was quite acceptable. Danny fre-

GRAPH KEY Appeal Line No. 05 Tolerance Line Above "Apeal" Line No. 50 Safe Area Below Appeal Line No 50 Tolerance Falls Rapidly Numberals Above Graph Presentation by Minutes Numerals at Left of Graph Audience Appeal

quently assumed stark seriousness, but never failed to wind up with an explosive gag which registered re- markably well. (A.A. 52 to 70)

8:11 P.M. Unannounced dance sequence followed the blackout. The routine was staged in the surround- ings of a dancing school for girls, and proved exceptionally fresh and interesting. This group must have crashed the Four Star Revue party.

A P P E A L

100

90

*0

70

60

SO

25

10

60 MINUTE GRAPH

20 25 30 35 40 45 50 55 60

J

i>" 1

A:

At least it seemed so, for the group came into being out of nowhere and faded into oblivion with not the slightest sign of farewell. If the group was worth booking, it was most certainly worth a nod from someone, somewhere, somehow. (A.A. 70 to 72)

8:16 P.M. Marie McDonald (the body) took the stage. The whole stage. Danny was also there. The chit chat held up very well despite the fact that Marie's presence dropped all else to secondary value. (A.A. 72 to 78)

8:23 P.M. The dance team of Har- rison and Fisher. Graceful dancers who seemed to be undecided as to whether their routine should be dignified or burlesque. Definitely, the couple displayed considerably more grace than humor. (A.A. 78) 8:28 P.M. Title card heralds "Drama In The News." A bit, in which Danny dramatically reads a letter from a Korean GI to his family. This sequence proved somewhat disappointing, since change of show texture was unexpected. Con- sequently, fully a third of the grim

18 TELEVISER


letter was read before viewers real-ized that humor had been sus-pended for the time being. Unques-tionably, the sequence was not inplace in a basically humorous pres-entation. (A.A.7B to 70)

8:31 P.M. Commercial not inte-grated, but instead achieved anunusual twist by being blendedsmoothly into a grand comedy mon-ologue by Danny, who portrayed anItalian charaeter. His efforts to de-scribe the mysteries of a baseballgame rvas a true comedy classic.(4.A. 70 to 80)

8:40 P.M. Marie McDonald insong which seemed tuneless, but inno way detracted from her charms.Joined by a group of dancers, Mariewent through the motions of dance,but displayed no definite routineand seemed relieved when her near-dance was civer. (A.A. 80 to 76)

8:45 P.M.'Commercial not inte-grated, and not too good. (A.4. 76

to 70)

8:47 P.M. Danny portrayed theaverage man who gets pushedaround, resents the treatment, butnever knows just what to do aboutit. A very good start in this footballskit which finally suffered fromwriters cramp, as the basic ideafaded into thin air during the prog-ress of this number. In this episode,one performer bent low in order tomiss the camera as he walked acrossstage. He was not too well foldedand the camera got him. (4.4. 70

to 72)

8:57 P.M. Danny ends the show,finishing as he began with his backto the audience. (A.A. 72 to 70)

8:58 P.M. End.(4.A.70)

TECHNICAL NOTATIONS

Cameq'a Angles: Interesting. Gen-erally satisfactory.C amera O 7t erations : Generally good.

Lighting: Well arranged for mostscenes.

Pace: Relaxed eveness throughout.Never fast, but entirely satisfying.Aud,i,ence Appeal: Show began up-ward climb from the well presented

ocroBER, t950

opening commercial display, up tothe 21st minute. Then held firm tothe 28th ninute. Dipped during thenext four minutes and recoupedquickly fi'om the 32nd minute toreach its highest appeal (80) at the36th minute. Here, its positivestrength held up for a full fourminutes. From the 40th minute, thetrend was gradually downward withsome stabilizing moments to theclose. An enjoyable hour.

TECHNICAL ERRORS

u) Unannounced, d,ance sequencewhich came into being and went outof eni,stence crs a, group of totalstrangers to the aud,ience. b) Sud,-den atoakeni.ng of pleosure mi.ndedaudiences to the gri,m reali,ties of awar in progress,'in a presentationlohich promiseil mental relief fromiust suclt a tragedy. c) Performerpertni.tted to pass bef ore the camerauho m,isiud,ged the field of cainerarange. d) Failure to prouide a suit-able cli,mnr f or the presentation,

RECEIVER DISTRIBUTION . . .(September

New York -----1,555,000

Los Angeles --- 638,000

Chicago 595,000

Philadelphia ,-- 565,000

Boston 490.000

Detroit 306.000

Cleveland -----.- 287,000

Baltimore --.- -- 208.000

St. Louis - -- 166,000

Washington 161,000

Cincinnati --,-,-- 157,000

Milwaukee -.--- 146,000

Pittsburgh ----- 133,000

Minn.-St. Paul .-.-----.----.-.-.-- 121,000

Buffalo 120,000

SchenectadyNew Haven

99,500

1, 1950)

Wilmington 40,800

RichmondDallas*

HoustonNew Orleans -----.----.-

39,90039,600

37,20034,300

Seattle 37,800

Johnstown 33,900

Miami 33,900

Grand Rapids 33,500

Ft. Worth 31.400

Omaha 29,800

Erie ------------ 28,300

Norfolk -----.-., 27,900

Salt Lake City . 25,300

San AntonioCharlotteHuntington

95'5oo GreensboroSan Francisco -------------------- 85,300

Columbus 84.000

Dayton 84,000

Providence 79,000

Syracuse 63,300

Indianapolis 63,300

Lancaster ------

Atlanta -.------.-

San Diego --..,-

Toledo

Lansing 19,000

BinghamtonBirminghamDavenport-Rock IslandPhoenix 16,100

58,900JacksonvilleAmes ----....--

" 57,600 Bloomington55.000' AlDuquerque53'ooo Nashville50,500

49,300 Total -.-------- ...... -. -... - -7,529,7 00x Add,itionul cooeroge f or WBAP-

TV, Ft. Worth.

-NBC estimates

25,200

22,20020,100

19,500

19,000

18,400

18,400

15,000

14,300

9,000

4,600

2,000Kansas CityMemphis ------

Rochester

Louisville --...,.

Oklahoma City

48,600

46,500

42,300

letter was read before viewers realized that humor had been sus- pended for the time being. Unques- tionably, the sequence was not in place in a basically humorous presentation. fA.A. 78 to 70)

8:31 P.M. Commercial not inte- grated, but instead achieved an unusual twist by being blended smoothly into a grand comedy mon- ologue by Danny, who portrayed an Italian character. His efforts to de- scribe the mysteries of a baseball game was a true comedy classic. (A.A. 70 to 80)

8:40 P.M. Marie McDonald in song which seemed tuneless, but in no way detracted from her charms. Joined by a group of dancers, Marie went through the motions of dance, but displayed no definite routine and seemed relieved when her near- dance was over. (A.A. 80 to 76)

8:45 P.M. Commercial not inte- grated, and not too good. (A.A. 76 to 70)

8:47 P.M. Danny portrayed the average man who gets pushed around, resents the treatment, but never knows just what to do about it. A very good start in this football skit which finally suffered from writers cramp, as the basic idea faded into thin air during the progress of this number. In this episode, one performer bent low in order to miss the camera as he walked across stage. He was not too well folded and the camera got him. (A.A. 70 to 72)

8:57 P.M. Danny ends the show, finishing as he began with his back to the audience. (A.A. 72 to 70)

8:58 P.M. End. (A.A. 70)

TECHNICAL NOTATIONS

Camera Angles: Interesting. Gen- erally satisfactory. Camera Operations: Generally good. Lighting: Well arranged for most scenes. Pace: Relaxed eveness throughout. Never fast, but entirely satisfying. Audience Appeal: Show began up- ward climb from the well presented

opening commercial display, up to the 21st minute. Then held firm to the 28th minute. Dipped during the next four minutes and recouped quickly from the 32nd minute to reach its highest appeal (80) at the 36th minute. Here, its positive strength held up for a full four minutes. From the 40th minute, the trend was gradually downward with some stabilizing moments to the close. An enjoyable hour.

New York 1,555,000 Los Angeles 638,000 Chicago 595,000 Philadelphia . 565,000 Boston 490,000 Detroit 306,000 Cleveland 287,000 Baltimore 208,000 St. Louis 166,000 Washington 161,000 Cincinnati 157,000 Milwaukee 146,000 Pittsburgh 133,000 Minn.-St. Paul 121,000 Buffalo 120,000 Schenectady 99,500 New Haven 95,500 San Francisco 85,300 Columbus 84,000 Dayton 84,000 Providence 79,000 Syracuse 63,300 Indianapolis 63,300 Lancaster 58,900 Atlanta 57,600 San Diego 55,000 Toledo 53,000 Kansas City 50,500 Memphis 49,300 Rochester 48,600 Louisville 46,500 Oklahoma City 42,300

TECHNICAL ERRORS a) Unannounced dance sequence which came into being and went out of existence as a group of total strangers to the audience, b) Sud- den awakening of pleasure minded audiences to the grim realities of a war in progress, in a presentation which promised mental relief from just such a tragedy, c) Performer permitted to pass before the camera who misjudged the field of camera range, d) Failure to provide a suit- able climax for the presentation.

Wilmington 40,800 Richmond 39,900 Dallas* 39,600 Seattle 37,800 Houston 37,200 New Orleans — 34,300 Johnstown 33,900 Miami 33,900 Grand Rapids 33,500 Ft. Worth 31,400 Omaha 29,800 Erie 28,300 Norfolk 27,900 Salt Lake City 25,300 San Antonio 25,200 Charlotte 22,200 Huntington 20,100 Greensboro 19,500 Lansing 19,000 Binghamton 19,000 Birmingham 18,400 Davenport-Rock Island .... 18,400 Phoenix 16,100 Jacksonville — 15,000 Ames — 14,300 Bloomington 8,000 Albuquerque 4,600 Nashville —2,000

Total 7,529,700 * Additional coverage for WBAP-

TV, Ft. Worth. —NBC estimates

RECEIVER DISTRIBUTION ...

(September 1, 1950)

OCTOBER, 1950 19


_F!I

I

ocf. 1J 1950S'IATEMENT OF THE OWNERSHIP. IVIAN.AGEMENT, AND CIRCULATION REOUIREDBY THE ACT OF CONGRESS OF AUGUST24, 1912. AS AMENDED BY THE ACTS OFMARCH 3, 1933, AND JVLY 2, 1946 (Title 39,

United States Code. Section 233)

Of Televiser, published monthly at New York,N. Y. for Oct. 1. 1950.

1. The names and addresses of the publisher,editor, managing editor, and business managersare Publisher, Irwin Shane, 7N Fort Washing-ton Ave., New York. Editor, Irwin Shane 720Fort Washington Ave., New York. Managingeditor, Robert Harris, 144-04 69th Avenue,Flushing, New York. Business manager, LillianSpelar, 3720 94th St.. Jackson Heights, New

2. The owaer is: (If owned by a corporation,its name and address must be stated and alsoimmediately thereunder the names and ad-dresses of stockholders owning or holding 1

percent or more of total amount of stock, If notowned by a corporation, the names ald ad-dresses of the individual owners must be given.Tf owned by a partnership or other unincor-porated firm, its name and address, as rvellas that of each individual member, must begiven.) Television Publications, 1780 Broadway,New York, N. Y.

3. The known bondholders, mortgagees, andother security holders, owning of liolding 1percent or more of total amount of bonds. mort-gages, or other.securities are: (if tlrere ?rcnone, so state). None.

4. Paragraphs 2 and, 3 include. in casesuhere the stockholder or security holder ap-pears lrpon the tmks of the company as trustceor in any other fidiculary relaiion. the nanl(.ol lhe person or corporation for rvhom srrchtrustee is acting also the statements iil thetwo paragraphs show the :ffiant,s frrll knou.l_edge- and belief as to the circrrmstances andgond.iti.o-ns under which slekholders and

"ecur-Ity nol.lers rvho.lo not appear upon the booksot lhf company as trustees. hold stock andsecurrties in a capacity nther than that of aDOna hde owner.. 5. The average number of copies of eachissue of this publication sold;i Ais;hu-te(i.through the. mails or otherwise to paid sub_{crrDers cturlng lhe l2 months preceding thedate. sh-own above was: (This infnrmetion isrequ'red lrom daily, weekly. semiweekly. andtrrueekly neuspapers only.)

IRWIN A. SHANEPublisher.

- Sworn,to and subscribed before me this 11th,lay of Oct., 1950.

(Seal) BURNETT DUBRINNotary Public, State of New york

No.03-1031500Cert---filed N..Y. Co. Clerks' anrl Reg. C)fficc(My commission expires l{arch 30.'i95i)

by tohn DeMottJohn DeMott is the Monoger of Speciol Effects for CBS-TV. He hos been dssocioted

*itl poiorouit, Universol, MGIi, Worn"r Bros., ond RKO-Pothe. He hos recently colloboroted

on o Broodcost Adve*iiing Bureou monuol devoted to TV odvertising techniques ond

speciol effects. ,s lE r+

There at'e mdnlJ t?.iclts in Teleoision-so1ne new, sonle old. Thc latterin many cases d,r; the ones that are. used nlost toidely in this nxedium'

at the -present

time. The lmTrpg nLarriage betoteen, tha theatre, motionpicture

-ancl railio has alread,y showlx itsetf in the trem,endous i'niti,al steps

toward, tru,e showm'onsh'ip taken bU TV. Th,e success of mnna progranlsco,n be traceil to the eopert nLa,nner in whicfu they aye presented to thepublic---4wrch of this success i's ilue to the hand,Ling of these "tricks" '

FIRES: We have man.v requests for a flickering fireplace or aburning buililing. Obviously we can't set fire to a studio set nor canwe use live fires in most television studios. Fireplaces are often neededas the background for a dramatic situation or in a scen'e that is builtspecifically around it. The effect of a log fire can be obtained by

blowing shredded China silkwhich can be attached to theback of a log in the set's fire-place and then by applyinglight beneath it-adil a fewdrops of titanium (tetra)chloride to the face of thelog-place a small fan be-neath the logs and flickeringtongues of fire will result. BYadding the'ITC you will havethe necessary smoking f oryour log fire. We suggest Youuse a mixture of orange, redand white strips of Chinasilk. (See drawing).

If it is only necessary tosee the frame of the fireplace and shadows flickering within the roomtry placing a fire screen in front of the fireplace. Behind and off theset, put a 750 watt spot light, and directly in front of the light, about18 inches of rag strips stapled to a common piece of batten or a stick.screen in front of the fireplace. Behind and ofr thd set, put a 750 watt spotlight, and directly in front of the light, abou 18 inches of rag stripsstapled to a common piece of batten or a stick.

For a reverse shot through a fireplace into a room, try holding a canof burning sterno from 6 to 8 inches in front of the lens and about 3 inchesbelow the field of focus. You will then be shooting through actual flameto the faces of the actors. For a burning coal grate, break up 15 or 20brown beer bottles. Dump them into a fire grate around a 40 or 50 wattIamp. Add a few drops of TTC, and the result will be a smouldering fire.

PASSING TRAINS: When there is no possibilitU of lLsing a moti,onpictuT'e backgroumd proiected, i,nto a window or & trai% set, trA usingconnnon a,rchitect's traci,ng paper stapled oaer tlte windous. At the backof the set place a 750 "tt)(r,tt spotl,ight. In front of the spotlight reaol't)ed, cross of 3 i,nch, batten (a strip of toood) oryronirnntely 3 feet across.The spot li,ght should sh,ine on the top area of the reaoloing battens. Theresulting effect uill gi,ae motion to the train set.

In order to throw the needed shad,ows q.cross the faces and bodies ofthe actors, try usi,ng the same cross piece in front of the set, and, thentack curd,boq,ril cutouts of d,i,fferent si,zes, ilimensions and sha,pes to theeross piece. Di,rect Aour light, through it on to Aou,r actors.

THE HOUSE OF LIGHrFOR PHOTO BULBS

o

LIGHTING EQUIPMENTfor The Motion Picture

qnd Advertising IndustryBARDWELL & McALISTER

Sofes-Senzice-Pafts

WALTERS ELECTRIC740 3td Ave. (ot 46rh Sr.) N. Y. 17

PL.3-23t6

20 TELEVISER

OCT. 13 1950 STATEMENT OF THE OWNERSHIP, MAN- AGEMENT, AND CIRCULATION REQUIRED BY THE ACT OF CONGRESS OF AUGUST 24, 1912, AS AMENDED BY THE ACTS OF MARCH 3, 1933, AND JULY 2, 1946 (Title 39.

United States Code, Section 233) Of Televiser, published monthly at New York, N. Y. for Oct. 1. 1950.

1. The names and addresses of the publisher, editor, managing editor, and business managers are Publisher, Irwin Shane, 720 Fort Washing- ton Ave., New York. Editor, Irwin Shane 720 Fort Washington Ave., New York. Managing editor, Robert Harris, 144-04 69th Avenue, Flushing, New York. Business manager, Lillian Spelar, 3720 94th St.. Jackson Heights, New

2. The owner is: (If owned by a corporation, its name and address must be stated and also immediately thereunder the names and addresses of stockholders owning or holding 1 percent or more of total amount of stock. If not owned by a corporation, the names and addresses of the individual owners must be given. If owned by a partnership or other unincor- porated firm, its name and address, as well as that of each individual member, must be given.) Television Publications, 1780 Broadway, New York, N. Y.

3. The known bondholders, mortgagees, and other security holders, owning or holding 1 percent or more of total amount of bonds, mort- gages, or other securities are.: (If there are none, so state). None.

4. Paragraphs 2 and 3 include, in cases where the stockholder or security holder ap-' pears upon the books of the company as trustee or in any other fidiculary^ relation, the name of the person or corporation for whom such trustee is acting also the statements in the two paragraphs show the affiant's bill knowledge and belief as to the circumstances and conditions under which stockholders and security holders who do not appear upon the books of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner. . s- average number of copies of each issue of this publication sold or distributed, through the^ mails or otherwise to paid subscribers during the 12 months preceding the date^ shown above was; (This information is required from daily, weekly, semiweeklv, and triweekly newspapers only.)

IRWIN A. SHANE Publisher.

Sworn to and subscribed before me this 11th day of Oct., 1950.

(Seal) BURNETT DUBRIN Notary Public, State of New York

No. 03-1031500 Cert, filed N. Y. Co. Clerks' and Reg. Office

(My commission expires March 30, 1951)

THE HOUSE OF LIGHT

FOR PHOTO BULBS

LIGHTING EQUIPMENT for The Motion Picture

and Advertising Industry BARDWELL & McALISTER

Sales - Serwce - Parts

WALTERS ELECTRIC 740 3rd Ave. (at 46th St.) N. Y. 17

PL 3-2316

by John DeMoit John DeMott is the Manager of Special Effects for CBS-TV. He has been associated

with Paramount, Universal, MGM, Warner Bros., and RKO-Pathe. He has recently collaborated on a Broadcast Advertising Bureau manual devoted to TV advertising techniques and special effects. * * *

There are many tricks in Television—some new, some old. The latter in many cases are the ones that are. used most widely in this medium, at the present time. The hajypy marriage between the theatre, motion picture, and radio has already shown itself in the treni.endous initial steps toward true showmanship taken by TV. The success of many programs can he traced to the expert manner in which they are presented to the public—much of this success is due to the handling of these "tricks".

FIRES: We have many requests for a flickering fireplace or a burning building. Obviously we can't set fire to a studio set nor can we use live fires in most television studios. Fireplaces are often needed as the background for a dramatic situation or in a scene that is built specifically around it. The effect of a log fire can be obtained by

blowing shredded China silk which can be attached to the back of a log in the set's fireplace and then by applying light beneath it—add a few drops of titanium (tetra) chloride to the face of the log—place a small fan beneath the logs and flickering tongues of fire will result. By adding the TTC you will have the necessary smoking for your log fire. We suggest you use a mixture of orange, red and white strips of China silk. (See drawing).

If it is only necessary to see the frame of the fireplace and shadows flickering within the room try placing a fire screen in front of the fireplace. Behind and off the set, put a 750 watt spot light, and directly in front of the light, about 18 inches of rag strips stapled to a common piece of batten or a stick, screen in front of the fireplace. Behind and off the' set, put a 750 watt spot light, and directly in front of the light, ahou 18 inches of rag strips stapled to a common piece of batten or a stick.

For a reverse shot through a fireplace into a room, try holding a can of burning sterno from 6 to 8 inches in front of the lens and about 3 inches below the field of focus. You will then be shooting through actual flame to the faces of the actors. For a burning coal grate, break up 15 or 20 brown beer bottles. Dump them into a fire grate around a 40 or 50 watt lamp. Add a few drops of TTC, and the result will be a smouldering fire.

PASSING TRAINS: When there is no possibility of using a motion picture background projected into a ivindow or a train set, try using common architect's tracing paper stapled over the window. At the back of the set place a 750 watt spotlight. In front of the spotlight revolve a cross of 3 inch batten (a strip of wood) approximately 3 feet across. The spot light should shine on the top area of the revolving battens. The resulting effect will give motion to the train set.

In order to throw the needed shadows across the faces and bodies of the actors, try using the same cross piece in front of the set, and then tack cardboard cutouts of different sizes, dimensions and shapes to the cross piece. Direct your light, through it on to your actors.

sa ^5 - i r

20 TELEVISER


-It1-II

i

lr I r I r I r I r il lt1!tllllrllllltllllllllrllt llllllll!lll lll lll llllllllllLlllllll

ilocm 844 l.A.T.s.E. =; lffilioted with =! Americon Federotion Centrol Trodes =! of Lcbor ond Lobor council =-: New Yot k Stote of Greoter New York =! Federotion of Lobor ond Vicinitv =I c"ntrol Union Lobel Council =I of Greoter New York

==-=-== PRoFESSIoNAL MOTION PICTURE

=i cluruueN tN rHE EAsr slNcE -

= THE TNCEPilON OF THE INDUSTRY

=

.-=! ron QUALTTY AND woRKMANSHIP

=i t-ook For This Lobel

=

3--.-

Jerry Albert is Director of Advertising ond Public Relotions for United World Films,subsidiory of Universol Pictures. He olso doubles in bross os Associote Director of TV Opero-tions. He is the outhor of numerous orticles in television ond odvertising publicotions, ond editsthe officiol publicotion of the Notionol Television Film Council. A former od ogency executive,loter vice-president of o publishing compony, Mr. Albert is unusuolly well quolified to commenton the possing porode in television films.

Aside from the quality of the lilm fare itself, the transmission char-acteristics of film telecasting up to recently have been such as to dis-courage viewing. Harsh black shadow areas, blank white highlights, ex-cessive contrast, poor detail-all these have contributed to establish motionpictures as the poor relation of TV programming. But the bright ladsin the electrical and engineering labs have developed several gimmicksthat are rapidly changing the ugly duckling into a genuine swan.

There are two new techniques designed to retain as much as possibleof the original film detail. One uses a negative in the station projector,instead of a positive. Elimination of the positive means one less loss-producing step in the chain from original fllming to final transmission.The flip of a switch converts the negative to a positive as it goes out overthe air.

The second technique does away with the projector altogether, by anelectronic scanning of the very film itself. This method makes it possibleto pick up pretty nearly every detail present in the original celluloid image.

Now about those chalky white faces and sooty shadows. This is causedby the fact that the long gray-scale of the film medium can capture abrightness range of at least 100-to-1, while the range of the television tubeis closer to 30-to-1. Net result is a loss of gradation and detail which usedto hit you over the head every time a film program flashed on.

They've got that licked now, too-with the Orthogam Amplifier. Thisis a device that intensifies specific portions of the gray-scale, forcing thoseblank whites into the detail range of the TV transmission system.

A recent look-in at Morton lolv,l.u'.*"atal of the Family" (Friday,CBS-TV, 10-10:30 p. m., Kelvinator) offered a lovely object lesson on theadvantages of filmed commelcials over live-a lesson worth 30 minutes ofany TV man's time.

At midpoint a live commercial was used. Side by side stood an announcerand a stove. The announcer praised the stove, the stove looked pretty-and that was the commercial. Rehearsal time being as costly as it is,and the frightening stare of those red-lighted cameras being what it is, theannouncer's words came out with little conviction. He hesitated severaltimes, and the viewer had the uncomfortable feeling of a constantly im-minent fluff.

The next commercial was on film. It took us to a store, showed severaldifferent Kelvinator products, flashed a close-up of the Kelvinator Five-Star Salesman's button, and made its sales points (via a narrator)smoothly, quickly, and interestingly'

This corner admits to a well-considered bias in favor of film for com-mercials-and anyone who saw that show knows why.

For dissidents who yield only to the reasoning of a sledge hammer,there was a recent occurrence on "Versatile Varieties" (Friday, NBC-TV,9-9:30 p.m., Bonnie Maid). The live commercial attempted a comparison ofthe sponsor's product with an "inferior" linoleum, to be demonstrated bybending samples of both, after immersion in boiling water. IJnfortunately,the "superior" linoleum cracked in half right in the demonstrator's hands !

He quickly hid one piece behind the other-but the damage was done.

.:!!

=

=

!.!

=!a

=

=

a:==

=

!-a__-HAVE OUR MEMBERS SOLVE YOURTELEVISION LIGHTING PROBLEMS

-..lnternational Photogrcphers

=of lhe

Motion Pictuie Industries, =|.A.T.S.E. ---

1 rcgt BRoADWAY, N.Y.c. cl7-209t =

tillIlItl]t]tlttltlttlttlrtltlLtllllltllllllllllllrLtlll lllllllrllll ll \r

22

SPOTS. ovER 100

. SPOTS ON

. THE AIR FOR

. AMERICA S

O LARGEST

O ADVERTISERS-

. PRODUCED BY

Gr aY-0'ReillY480 LEXINGTON AVE'' NEW YORK

PLA,ZA 3-1531

a

PHOTOGRAPHED ,.W,7M€MBdhs oF Sr4i'SrocAl 644<tr2

TELEVISER

SÔTS

• OVER 100

• SPOTS ON

• THE AIR FOR

• AMERICA'S

• largest

• ADVERTISERS—

• produced by

Gray-O'ReiUy

480 LEXINGTON AVE., NEW YORK PLAZA 3-1531

Jerry Albert is Director ot Advertising and Public Relations for United World Films, subsidiary of Universal Pictures. He also doubles in brass as Associate Director of TV Opera- tions. He is the author of numerous articles in television and advertising publications, and edits the official publication of the National Television Film Council A former ad agency executive, later vice-president of a publishing company, Mr. Albert is unusually well qualified to comment on the passing parade in television films.

* * *

Aside from the quality of tht film fare itself, the transmission char- acteristics of film telecasting up to recently have been such as to dis- courage viewing. Harsh black shadow areas, blank white highlights, ex- cessive contrast, poor detail—all these have contributed to establish motion pictures as the poor relation of TV programming. But the bright lads in the electrical and engineering labs have developed several gimmicks that are rapidly changing the ugly duckling into a genuine swan.

There are two new techniques designed to retain as much as possible of the original film detail. One uses a negative in the station projector, instead of a positive. Elimination of the positive means one less loss- producing step in the chain from original filming to final transmission. The flip of a switch converts the negative to a positive as it goes out over the air.

The second technique does away with the projector altogether, by an electronic scanning of the very film itself. This method makes it possible to pick up pretty nearly every detail present in the original celluloid image.

. Now about those chalky white faces and sooty shadows. This is caused îniinininnillMiiiiiiiiiiniiiiiiiiiiiiininiiiiiiiiiiiiiiiiiiiiiiiiiM by the fact that the long gray-scale of the film medium can capture a 'inn AI CAAIATCC I brightness range of at least 100-to-l, while the range of the television tube = LOCAL bAA I.A. I .w.b. | is closer to 30-to-l. Net result is a loss of gradation and detail which used

to hit you over the head every time a film program flashed on. They've got that licked now, too—with the Orthogam Amplifier. This

is a device that intensifies specific portions of the gray-scale, forcing those blank whites into the detail range of the TV transmission system.

Affiliated with American Federation Central Trades

of Labor and Labor Council New York State of Greater New York

Federation of Labor and Vicinity Central Union Label Council

of Greater New York

= PROFESSIONAL MOTION PICTURE | = C MERAMEN IN THE EAST SINCE = = THE INCEPTION OF THE INDUSTRY =

FOR QUALITY AND WORKMANSHIP Look For This Label

PHOTOGRAPHGD BY

MCMBGRS OF

LOCAL 644

MA

= HAVE OUR MEMBERS SOLVE YOUR ? TELEVISION LIGHTING PROBLEMS

| International Photographers | " of the ^ " ' Motion Picture Industries, -

I A.T.S.E. = 1 1697 BROADWAY, N.Y.C. Cl 7-2091 | Tiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiinsf?

A recent look-in at Morton Downey's "Star of the Family" (Friday, CBS-TV, 10-10:30 p. m., Kelvinator) offered a lovely object lesson on the advantages of filmed commercials over live—a lesson worth 30 minutes of any TV man's time.

At midpoint a live commercial was used. Side by side stood an announcer and a stove. The announcer praised the stove, the stove looked pretty— and that was the commercial. Rehearsal time being as costly as it is, and the frightening stare of those red-lighted cameras being what it is, the announcer's words came out with little conviction. He hesitated several times, and the viewer had the uncomfortable feeling of a constantly im- minent fluff.

The next commercial was on film. It took us to a store, showed several different Kelvinator products, flashed a close-up of the Kelvinator Five- Star Salesman's button, and made its sales points (via a narrator) smoothly, quickly, and interestingly.

This corner admits to a well-considered bias in favor of film for commercials—and anyone who saw that show knows why.

For dissidents who yield only to the reasoning of a sledge hammer, there was a recent occurrence on "Versatile Varieties" (Friday, NBC-TV, 9-9:30 p.m., Bonnie Maid). The live commercial attempted a comparison of the sponsor's product with an "inferior" linoleum, to be demonstrated by bending samples of both, after immersion in boiling water. Unfortunately, the "superior" linoleum cracked in half right in the demonstrator's hands! He quickly hid one piece behind the other—but the damage was done.

22 TELEVISER


TELEUISER has always presented the FAGT$.

llow here are some FAGTS about TEIEUISER.

0nly fiEIEVISER offers yoar advertisenent these result prodacing features.

a CREAM READERSHIP-TELEVISER reoches executives who pur-

chose time, services, equipment.

o LOWEST RATES-TELEVISER's odvertising rotes ore the lowest per

thousond of ony television mogozine.

o LONG LIFE-Your od works for you 12 months out of the yeor.

TELEVISER's informotion-pocked ond historicolly voluoble orticles beor

constont re-exominotion.

a REPUTATION-TEIEVISER wss rhe first stondord size mogozine in

the field ond hqs grown with the industry.

LOYAL READERSHIP-Mony of our subscribers hove been with us

since our first issue in 1944. They hove leorned thot TELEVISER is the one

television mogozine they con believe in.

rrrrrrrr-_rrr-rr

l|! I o monthly iournol of television

I elGU$eI r78o Broqdwil;;tr;lrl;;k re, N' Y

Act now!

Fill out this form.

Return it to us.

Deor Sirs:

Yes, we ore interested in leorning more obout the woy odvertising inTELEVISER con work for us.

n Send rote cord ond more detoiled informotion.

! Hove spoce representotive phone for on oppointment.

NAME

-_

TITL

FIRM

ADDRESS

PHONE

TELEVISER has always presented the FACT

Now here are some FACTS about TELEVISER.

Only TELEVISER offers your advertisement these result producing feutures.

• CREAM READERSHIP —TELEVISER reaches executives who pur-

chase time, services, equipment.

• LOWEST mATES —TELEVISER's advertising rates are the lowest per

thousand of any television magazine.

• LONG LIFE —Your ad works for you 12 months out of the year.

TELEVISER's information-packed and historically valuable articles bear

constant re-examination.

• REPUTATION —TELEVISER was the first standard size magazine in

the field and has grown with the industry.

• LOYAL READERSHIP—Many of our subscribers have been with us

since our first issue in 1944. They have learned that TELEVISER is the one

television magazine they can believe in.

Act now!

Fill out this form.

Return it to us.

Televiser

monthly journal of television 1780 Broadway, New York 19, N. Y.

PLaza 7-3723

Dear Sirs:

Yes, we are interested in learning more about the way advertising in TELEVISER can work for us.

□ Send rate card and more detailed information.

□ Have space representative phone for an appointment.

NAME TITLE

FIRM

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