o Summer, 1945 IJuly- August)

$1 Single Copy. $4 per Year

Te e JOURNAL OF VIDE PRODUCTION, ADVERTISING &OPERATION

GENERAL "IKE'S" HOMECOMING CAPTURED BY NBC'S TELE -NEWS CAMERA

*CONVERTING FROM RADIO TO TELEVISION -PAGE 13 *SHOOTING SCRIPT of CORWIN'S "UNTITLED" -PAGE 58 ANNUAL INDEX TO 165 TELEVISER ARTICLES -PAGE 62 - www.americanradiohistory.com t 4; ' --

(

Stretching the play a hundred miles-by television:

SO SWIFTLY do televised scenes rocket Capehart models, the marvelous elec- There will be improvements over your through space that, while part of a tronic television developed over 19 years pre -war instruments. More faithful tone picture is appearing on your receivin? by Farnsworth engineers. It will come and reception - glorious, interference- set, the television camera is still "taking' in cabinets of your choice, combined f ree FM - simple, dependable record - the rest of it possibly many hundreds with radio, or with a phonograph- radio. changers -and the miracle of television. of miles away! Today, Radar and military electronic You'll have a wide choice, from Each second, 3o complete pictures weapons employ all the research and pro- modestly priced Farnsworth sets to mag- are thrown on the television screen .. . duction facilities of the Farnsworth Tele- nificent Capeharts in distinguished cab- so your eyes see - not half -pictures - vision & Radio Corporation. But new inets. And every one -whether Capehart but large, clear images and motion with- Capeharts and new Farnsworth radios or Farnsworth -will offer you the high- out blurring. and phonograph -radios, at a wide range est possible quality at its cost. Farns- Eventually, after the war, you'll have of prices, will come from our plants after worth Television & Radio Corporation, home television in both Farnsworth and Victory. Fort Wayne r, Indiana.

N°AR BONDS FIGHT.TOO -IWY AN EXTRA ONE TODAY

CAPEHART FARNSWORTH 7 ,

F A R N S W O R T H T E L E V I S I O N & R A D I O C O R P O R A T I O N www.americanradiohistory.com' Vol. I, No. 4 .. . Summer, 1945 3. IY'ith this issue, which completes Vol I, TELEVISER will be published every other month hereafter instead of quarterly. An index to all of TELEVISER's articles, totaling over 150, begins on Page 63. Reprints of the Index are available to libraries, univer- 'elevise sities, radio stations, and research groups. JOURNAL OF VIDEO PRODUCTION, ADVERTISING & OPERATION

Published by TELEVISION PUBLICATIONS, I I W. 42nd St., New York City IRWIN A. SHANE Editor f3 Publisher PROGRAMMING AND I PRODUCTION:

Converting from Radio to Video Broadcasting, by Dr. Alfred N. Goldsmith 13 MARIAN THOMAS... News Edit,' Who Are the Station Applicants 14 ARLENE ALLEN Feature Editor Television "Boners" and Their Cure 15 A. E. BROWNING Reviews Editor What the "Man -On -The- Street" Thinks of Television I 17 LARRY CARL Washington Bureau Who Will Produce Television? 18 JERRY SALTSBERG Staff Photographer A 2 -Year Log of Outstanding Programs at WRGB 20 Casting for Television, by Florence Green .. . 22 BARBARA E. JONES Circulation Mgr. Television "Quotables" 23 Corwin's "Untitled" Makes Tele Debut 24 Films for Television, by Ted Estabrook 25 Teaching Television, by 26 CONTRIBUTING EDITORS Samuel H. Cuff Use of Sound in Television, by Richard T. Hubbell 27 Patricia Murray, Stanley Kempner, Gerald Kaye, Raymond Everett Nelson, Sanford Meis. Sources for Scripts 29 ner, David Kaplan, Norman I). Waters, N. L. Chalfin. "29 -30" or Bust! by Harvey Marlowe.._ 31 Special Effects, by Capt. William C. Eddy, USNR 34 Language of Television 36 Profile of Paul Porter 38 EDITORIAL ADVISORY BOARD DAVID ARONS, Publicity Director, Gimbel Brothers, Philadelphia. OPERATION AND RALPH AUSTRIAN, Exec. Vice -President, 2 MANAGEMENT: RKO- Television Corporation, New York City. WILL BALTIN, Secretary -Treasurer, Tele- vision Broadcasters Assoc., New York City HOYLAND BETTINGER, Former Manager, A Researcher Views Television, by E. W. Engstrom 39 Station WRGB, Schenectady, N. Y. Training of Studio Personnel, by Louis A. Sposa 41 PROF. EDWARD C. COLE, Yale University, Department of Drama, New Haven, Conn. WGN's $5000.00 Prize -Winning Design for a Tele- Studio 43 CAPT. WILLIAM C. EDDY, USNR., Station Co -Axial Cable -What It Is -and Network Uses 44 WBKB, Chicago A Cable from Britain, by E. Chisholm Thompson 45 LEE DE FOREST, Research Director, De Forest Laboratories, Los Angeles, Cal. Wartime Operating Staff at WRGB 46 DAN D. HALPIN, RCA - Victor Division, Radio Corporation of America, Camden, N. J. FRED R. LACK, Vice-President, Western Electric Company, New York City 3 ADVERTISING AND KLAUS LANDSBERG, General Manager, MERCHANDISING: Television Station W6XYZ, Hollywood, Calif. PAUL B. MO\VREY, Director of Television, American Broadcasting Co. (Blue Network) Survey of Advertising Agencies Planning Television Now I 47 RICHARD MANVILLE, Research Consultant, .1 East 42nd Street, New York City Chicago Goes Commercial 48 PAUL RAIBOURN, President, Television Pro. Video Sells Razor Blades, by S. Carl Mark 49 ductions, Inc., New York City Tele- GEORGE SHUPERT, President, American Theater Sells Friends on Video 51 Television Society, New York City Chicago Adv. Agency Inaugurates New Program 51 BERNARD B. SMITH, Attorney -at -Law, 551 Problems & Profits Retailers, Fifth Avenue, New York City for Television by Stanley Kempner 52 DAVID B. SMITH, Research Director, Pltilco Admiral Corp. Sponsors Unique Tele Series 55 Corporation, Philadelphia, Pa. Television Quiz 56

REVIEWS, SCRIPTS Entered as Second Class Matter, October 13, 1944, at the Postoffice, New York, New York, 4 AND VIEWS under the Act of March 3 1879. Subscription Rate $4 Per Year (in the Ú. S. and territories, and 'Pan- American Countries; $4.50 in Canada; Books: "Television, Programming & Production," by R. T. Hubbell 57 $5.00 elsewhere, payable in U. S. currency). Advertising Rates Upon Request. Published Script: "Untitled," by Corwin 58 quarterly by Television Publications, II West Forty- Second Street, New York 18, N.Y. Entire Contents Copyrighted, 1945, and No Part May OTHER FEATURES: "Letters to The Televises," Page 2; "Washington Video - Be Reproduced Without Written Permission. Notes," by Larry Carl, Page 4; "Tele- Highlights," by Stanley Kempner, Page 8.

www.americanradiohistory.com LETTERS TO THE TELEVISERJ

Editor of TELEVISER: Television is, without question, an amazing to say regardless of, the quality of the program When I first heard Mr. Nance's speech, I invention (or series of inventions!) -but it material. I can only base so heretic a statement felt that a number of his utterances were those happens to be contemporary with a lot of other on past experience, observations made by ex- of a man with ulterior motives or with an axe amazing inventions: It suffers therefore by com- perts in studying the development and trends to grind; but I have since re -read and analyzed parison. It is ridiculous to measure the advance in the growth of motion pictures and radio. If the speech, and, in addition, read the statements of television against the advance of radio. you don't believe it, just go to the movies, any of other men -men who are engaged at present When radio made its appearance, it was abso- movie at random, or switch on your radio some in television and are eager for its success -and lutely without precedent; it was more than a afternoon. Technically, you will be getting the I find the same questions, problems, and doubts novelty, it was an "original." You could not best the world has to offer; but how long you expressed. say that it was better or worse than anything can stand it, depends upon your personal taste, Mr. Nance stressed the fact that television else, because it was the only thing of its kind. and your intestinal fortitude. And the movies broadcasting began in 1928 and in the seven- Nobody did then, or does now, compare it with and radio are both very profitable industries! teen years of its existence it has made less an actual performance in either a theatre or a Leave us face it! Foot-note to a drum solo! progress in public acceptance than radio made concert -hall, except to give it an occasional pat Bravo Now World on the head when the quality or fidelity of the in its first year. Mr. Nance wants to know- Over twenty-five millions of dollars have is good. Radio, thus, in "Why?" reproduction especially been invested in television research to date. was incomparable! His own reply to that question hinges on the a sense, That much money doesn't give up without an so with television! And what is tele- fact that television presents an economic enig- Not awful death struggle! Television will be per- vision? So far as the general public is con- ma. He believes that the public will not be fected! It will arrive! It will be successful! sight and sound, canned for home interested in television until the industry can cerned, it is Whether the Government or the Ex -Lax Cor- Is the public familiar with canned provide a high quality of entertainment, while, delivery! poration will provide the capital is not known; sight? Most assuredly, it is! It now spends on the other hand, that sort of entertainment whether M-G -M, NBC, or a latter -day Henry to Mr. Nance) a billion dollars a will not be forthcoming until there is an (according will be the Kaiser of Television is not known; it. public has been going to audience large enough to support it, either year to enjoy The whether programs will be aired 64 or only by the movies for fifty years, has noted the im- directly by purchase of sets, by taxation, or 6 or 4 hours a day is not known; hardly any- provements in cinematography, and developed some other method; or indirectly, through ad- thing is known, in fact, about what television tastes and critical faculties accordingly. Will vertisers. its will be like in the future. But Mr. Nance's then at a television screen with a clear it look viewpoint to the contrary notwithstanding, tele- Economics No Bottleneck! and unprejudiced eye? It certainly will not. The vision is here and it is here to stay . . . Mr. Nance then presents a series of figures public will compare and comparison proves! ...... and if Mr. Gilbert Seldes knows anything about to show that radio advertisers spent 350 mil- they say in the popular radio program Or so it (and he should!) the new medium will lions of dollars last year to provide 64 hours of from which Mr. Nance took his 64 (billion) ... be the "sewer" of the old forms! So we can entertainment daily (four networks, sixteen question! It is strange that he over- dollar make up our minds right now that when we hours a day each) ; whereas movie audiences looked the matter of comparison. little touch that magic switch, and settle back in our paid out a billion dollars last year for only one As with the public's attitude toward canned armchairs, one of the first things to come out and a half hours of entertainment per day. The is today toward canned sound. sight, so it of our shiny new television set will be the Lone point Mr. Nance is trying to make is that the Electrical recordings, transcriptions, and radio, Ranger, dashing across the wall in pursuit of expenditure of a billion dollars, to provide both AM and FM, have not only become the villain, who will be headed for somewhere entertainment of movie calibre, would only familiar to the public at large but have set west of our all- electric kitchen! occupy a television audience for one and a half which are expected and de- definite standards But even then we shall not have reached the hours a day, which he apparently does not deem manded. enough entertainment, and still leaves the prob- zenith of radionics! In every future ... lies a lem of collecting the billion. Who is to pay it? Public's Standards brave new world! Now we are back where we started ... and The general public, in other words, has been RUDOLPH GOODMAN here is where I take issue with Mr. Nance! He educated up to a level where it expects a cer- Yale Drama School says the bottleneck is an economic one; I say it tain quality-and will accept nothing less -in New Haven, Conn. is not! I am willing to agree that Mr. Nance's its mechanical entertainment. Television is a figures are correct -although in estimating the combination (in effect) of movies and radio; Sirs: Congratulations on the splendid Spring cost of motion picture production he does not and considerable as its present development is, edition of your magazine. It sets a fine pace! say whether he took distribution and exploita- no one would be rash enough to say that tech- ORRIN E. DUNLAP, JR. tion items into account as they certainly would nically it can match the movies and radio RCA - Rockefeller Center differ from similar items in the television set- combined. New York City up; but I give him the benefit of the doubt on As yet I have let drop not a word about the his figures because he must have made pretty type or quality of program to be presented on Sirs: Your publication is of great value and sure of them before getting up to address a television, because, strange as it may seem, I certainly fills the need of a magazine of "not- group of experts in cost accounting and cor- consider it of secondary importance in the too- technical" a nature for production staff porate structure. success of the medium. Primarily, I feel that use. It is hoped that you can see fit to make But in another direction-and one in which, when it is possible for a television set to pro- it monthly in the near future. I feel, he should be well -informed -I am cer- vide an image no smaller than three feet by E. R. HARPER tain he has erred grievously, that is, in regard four feet, with the clarity and color of present 1933 N. Bronson Street to the technical development of television. Mr. day motion pictures, the musical background of Hollywood 28, Calif. Nance says "television is all dressed up and has FM fidelity, and the set priced within the no place to go"; he insists that the scientists limits of the average man's pocket -book, the Sirs: As you are probably aware, this station and the laboratories have done their share; to industry will make strides far outdistancing is a subscriber to TELEVISER. I can assure you hear him tell it, television is well nigh per- both the movies and radio. we are getting a great deal out of your pub- fect; it is marking time only because of the This prediction, it will be noted, is based lication... . shortage of money and good programs, or the entirely upon the technical excellence of the F. VAN KONYNENBURG, Sales Manager other way round if you like, good programs and instrument. Given such excellence, television Station WTCN money! I object! will succeed in spite of, I am almost tempted Minneapolis 4, Minn. 2 TELEVISER

www.americanradiohistory.com ELECTRONIC TELEVISION IS AN RCA DEVELOPMENT This is the second of a series of adver- tisements showing that RCA engineers developed the basic essentials of the electronic television system - including tubes and circuits. RCA built the first all- electronic tele- vision transmitters and receivers - the first commercial television station - established the first television relay sys- tem - presented the first electronic theatre television - was the first to televise a baseball game, and a Broad- way play; and was first to televise from an airplane. RCA is, and will continue to be, the leader in practical, successful commer- cial television. You may expect the best of all kinds of television transmitting and receiving equipment from RCA.

BUY WAR BONDS

2. THE KINESCOPE

THE Iconoscope gave electronic directed against a luminous screen television its primary essential - would be modified by the incoming an electron tube that produces carrier wave with such fidelity as to electrical impulses corresponding, reproduce an accurate image of the with high fidelity, to the light energy scene telecast. An image built up in the various areas of the scene dot for dot, line for line, by elec- being scanned. tronic scanning exactly synchronized To reproduce the scene in a truly with the television camera. electronic receiver, it was necessary This is the Kinescope, developed to create an electron tube in which by Dr. V. K. Zworykin, Associate the energies of an electron beam Director of RC T.al,oratories.

The Fountainhead of Modern Tube Development is RCA

RADIO CORPORATION OF AMERICA RCA VICTOR DIVISION CAMDEN, NEW JERSEY

In Canada, RCA VICTOR COMPANY LIMITED, Montreal

www.americanradiohistory.com FCC Chairman Paul Porter, Dr. Karl Compton, Massachusetts Institute of Tech- nology's president, Philco's prexy John /1ASHINGTON Ballantyne and Mary Gay, New.Pweek re- ÏIOEONOTES porter, were telecast to Philadelphia: The signal was sent from Statler to Philco's tower across Potomac River in Arlington; Announce- By LARRY CARL render satisfactory service." thence via relay to Philadelphia. Courtnay FM -tele hearing of May Televiser Washington Bureau ment followed Pitt, Philco's Director of Public Relations, 16th for all District of Columbia appli- states the company isn't ready to announce PRODUCTION of broadcasting and cants. Appearing before the Zoning Com- its program plans for Washington. The receiving equipment, including video, mission were J. R. Poppele, President of best guess is that Philco will be on the air, may not be authorized until monthly TBA and WOR Chief Engineer, and in the District of Columbia, before Sep- delivery of electronic equipment drops representatives of the networks and inter- tember with experimental video. Exchange to 75% the first quarter of 1945, accord- ested groups. Both the Washington Posi of programs with WPTZ will be featured. ing to Louis J. Chatten, Director, WPB and D. C. Commissioner Guy Mason, It's very possible that WNBT shows will Radio and Radar Division. First quarter came out publicly in favor of the proposal be sent on to Washington as an extension monthly delivery rate for 1945 was $210,- before a decision had been reached. The of the Monday night exchange service 000,000. When production falls to 90% hearing was a combined FM and tele between the NBC sight- transmitter in of this rate radio equipment will be made affair. But video received nearly all press New York and WPTZ. available for air, rail, transport and law attention, even the Zoning Commission Expansion of Philco's program and net- enforcement users. Commercial radio must referring to it as the "Television Towers work service was signaled April 27th by await the 75% figure as it stands now. Hearing." Practically no mention of FM appointment of Ernest B. Loveman as WPB's stand was endorsed by the Radio appeared. Certainly indicative of the Vice -President -in- Charge of the television Industry Advisory Committee prior to public mind, we think ! broadcasting division of Philco. issuance of the order. Reason: Pacific war * * * * is more of an "electronic war" than the Du Mont's W3XWT started experi- Capital Radio Engineering Institute European conflict. mental tests on May 11th from Hotel (CREI) recently completed construction WPB Order P-43, however, will grant Barrington with a low power transmitter. of an experimental video layout for in- assistance to research laboratories build- As noted in The TELEVISER (Spring struction purposes, consisting of one small ing stations for experimental video, ac- issue), Dr. Thomas Goldsmith, Jr. is studio with two banks of incandescent cording to John Creutz, of WPB's Radio the tests which consist of field lights; re -built Zeiss camera on home- and Radar Division. Mr. Creutz told conducting measurements of test patterns, etc. Les made dolly with camera chain. An RCA TELEVISER that P -43 would give what he Arries, Du Mont Washington head and small "ike" camera is on order. Control termed "priority assistance" to such ex- Manager, that a equipment consists of panel with one perimental video stations, for such equip- W3XWT General states much larger and more powerful trans- "ike" viewer, one "on -air" viewer, plus ment as towers. However, the overall mitter will be brought to Washington amplifying equipment, sound channels, construction of an experimental video shortly. WPB okay for a tower will prob- and their own power supply and phasing outlet would take in a number of addi- ably have been granted by now. This will equipment. Installation was made by tional WPB rules, including L -41. Under replace the temporary antenna being used CREI video -chief Paul D. Wickre and his no circumstances, Creutz added, would the tests. Main ballroom of the Har- assistant, Archie Anspach, WMAL en- equipment be made available for com- for rington is being remodeled as a video gineer. No transmitter is planned. CREI mercial video outlets, at the present time. studio. Equipment will consist of two will use the new video studio set -up be- The war agency has told FCC that no cameras, film projector and possibly a ginning this Fall to prepare advanced production of commercial radio and video mobile unit. September 15th is still the students as camera operators, control and equipment appeared possible until after tentative date for completion of remodel- construction men for new tele stations as the first quarter of 1946. If the Jap war ing plans. Arries told TELEVISER that test go on the air. Wickre estimates a ends sooner than Washington expects, they of programs probably won't of 50 students can be handled at WPB will give FCC ninety days notice transmissions class wait for studio completion, but will be one time. before flashing the "green light." So -Du * * * until average monthly production rate started during the Summer. W3XWT Mont, Mr. Arries pointed out, intends to falls below $160,000,000, don't look for RCA Communications, Inc. has asked fully with the FCC Engineering more than experimental video equipment. cooperate the FCC for permission to operate an * * * Department and will make its facilities UHF radio -relay chain between Washing- available to the Commission at all times Aesthetically- conscious Washington will ton and New York, it was announced by test purposes. allow erection of tele towers and studios for Brig. Gen. David Sarnoff, RCA president. in residential areas, it was announced Circuits will be used for international May 26th by the Capital City's Zoning Philco's WPTZ, Philadelphia, on April communications traffic, radio -photos and Commission. Towers will be permitted if 17th dedicated the company's wireless re- program transmission. Outlets will be "proposed locations won't adversely affect lay between Washington and Philadel- located at Philadelphia, Wilmington and the use of neighboring property and if phia. From a temporary studio atop the Baltimore, in addition to the terminal height of tower is reasonably necessary to penthouse of Washington's Hotel Statler, (Continued on page 56) 4 TELEVISER

www.americanradiohistory.com Master Control Board

DuMont Projector and Film Pickup Cornera DuMont- equipped rxç Television Truck

DuMONT TRANSMITTER CONTROL CONSOLE

and DuMONT VIDEO -AUDIO TRANSMITTER Producer's Only the DuMont Transmitter Control Desk Console offers all these features:

1. 12" cathode -ray tube for observing picture quality. DuMont 2. Control buttons for individual transmitter stages. Sound Boom 3. Necessary meters for constant checks on opera- tion. r V 4. Cathode -ray oscillographe for observing signals 44444, 9 and individual stage operation. 5. Patch -in rack for checking individual stages and signal off the air. 6. Automatic and manual safety switches for emergencies. 7. Synchronized electric clock for time recording. 8. Automatic time recorder. 9. Intercommunication. system microphone and loudspeaker. DuMont Iconoscope 10. Facilities for logbook and other records. Camera

DuMONT -FOR THE TOOLS OF TELEVISION

Simplified precision control is the design keynote stations are demonstrating the high pickup and of all DuMont Television Broadcasting Equipment. transmitting quality and efficiency, the extreme flex- Typical of this bull's -eye concentration on basic ibility, rugged dependability and low operating cost essentials is the DuMont Transmitter Control Con- of DuMont -engineered equipment. sole. All meters and controls of the Video -Audio DuMont has pioneered the profit pattern for Transmitter are combined with the station monitor peacetime commercial television... is setting the (formerly a separate unit) to achieve a new stand- pace in television broadcasting equipment design. ard in safety, easy visibility and centralized opera- Climb aboard the television bandwagon today by tion. Operators can be quickly trained to attend it. using the DuMont Equipment Reservation Plan to DuMont has equipped more television stations insure early delivery of equipment and training of than any other company. Week -in, week -out, these personnel. Ride udlb ¡he leader!

Copyright 1945, Allen B. DuMont Laboratories, Inc.

of MINT

ALLEN B. DuMONT LABORATORIES, INC., GENERAL OFFICES AND PLANT, 2 MAIN AVENUE, PASSAIC, N. J. TELEVISION STUDIOS AND STATION WABD, 515 MADISON AVENUE, NEW YORK 22, NEW YORV www.americanradiohistory.com .r. .,.y.::. .'/. ..r.y..R:.. qa, y yi fA%ry..4w.IV : iiwwsw SOCIETY AMERICAN TEI.F.VISION SOCIETY A IER ICAN Tel. EVI$ION S()CIEIY AMERICAN TELEVISION ,.,. AIL A.T.S. SPECIAI. AVARI) A.T.S. AVARI? A .S. AVARb .a...i.da.y -.A4. :. AAA," 7A'rION VNItT t. ti.... e_ ...h. STATION V NOT - STATION {'NIST

It's all in knowing

This year, top honors in three classifica- Pulitzer Prize play) cited by the ATS as the tions of the Annual American Television Outstanding Television Drama Production of Society Awards have been given NBC tele- the 1944 -45 season; or an "ABE LINCOLN IN vision station WNBT, New York. ILLINOIS," (by Robert Sherwood) produced -45 awards, WNBT is pleased and proud. Pleased, be- after the deadline for the 1944 as "tele- cause although awards are not our foremost but hailed in Variety's recent review goal, these ATS citations are, we feel, recogni- vision's greatest play to date." tion of our efforts to make each WNBT televi- Although productions of the calibre of sion program the finest to be seen on the air. these two are still too often the exception in Proud, because now and then we come up television -even at WNBT-they do represent with a "MEN IN WHITE," (Sidney Kingsley's forward strides. And it is just possible that

TELEVISION DRAMA PRODUCTION OUTSTANDING TELEVISION DRAMA PRODUCTION OUTSTANDING manager for Edward Sobol. who produced the award -winning This is Ronald C. Oxford, WNIIT stage Mr. This is prize- winning "MEN IN WNRT television drama. "LIEN IN WHITE:" Sobol's tele- Sobol in the presentation of the . Born in England. Oxford's career as vision experience began at WNBT in 1939-the same WHITE" product' station inaugurated America's first actor, director, producer for the last fifteen years has taken year the NBC television Hollywood, public television service. Sobol has been actor, director, him from his birthplace to the theatre, to to 191 -1 to WNBT television. business and production manager in the legitimate theatre. Radio City, and in February.

www.americanradiohistory.com HOW... 1f you are considering an initial venture in television, remember the accumulated experi- ence and technical and production knowledge they reflect the finest television broadcasting that brought these awards to WNBT are facilities in the business; the longest prac- available to all WNBT advertisers. tical television production experience in the industry. NBC TELEVISION WNBT thanks the ATS and the society's judges for their recognition of the job we're trying to do well. WNBT publicly salutes the distinguished production and technical staffs W NBT NEW YORK whose skill has made it possible for WNBT to win more 1944 -45 ATS awards than any NATIONAL BROADCASTING COMPANY other television broadcaster. A SERVICE OF RADIO CORPORATION OF AMERICA

TELEVISION SPORTS PROGRAMMING OUTSTANDING EDITING OF NEWS FILMS This is VIN IST producer Ernest S. Coiling. who, in addi- This is Paul Alley. Director of WNIST Film Programs. who tion to his regular studio assignments, handled the outside was given a special .tTS award for his superb handling of sports pickups judged hest s. in the ATS awards. Coiling WNBT news preseuta Long 1 hit in pilot pic- joined NBC as television director in 1940. Took o, er for tures, Alley joined W NUT a year ago to direct news presen- regular Special Events Director Burke Crotty (just returned tation. Reviewers said his -'Life of Franklin D. Roosevelt" to WNBT) when Crotty left WNBT in 1912 for Army service. compared in excellence to a March of Tinte presentation.

www.americanradiohistory.com Although television programs will formation, Sam Cuff, general man- receive far fewer "attention" hours ager of DuMont television station TELE- HIGHLIGHTS.. from Mr. & Mrs. John Q. Public WABD tells members of the Pub- By than radio now gets in the home, licity Club of New York ... STANLEY KEMPNER this factor will be more than offset * * * by television's far greater selling Use of small -size, high -voltage cathode power according to Mort N. Lan- ray tube will contribute toward smaller, April1 to June 15 sing, of the specialties unit, Bureau lighter, and less costly home television of Foreign and Domestic Com- receivers according to manufacturing ex- seven PERMISSION to construct merce in Washington, D. C.... In- ecutives of RCA -Victor. In the large - radio relay stations to be used, ternational Telephone and Tele- screen home receiver which that firm will among other purposes, for ex- graph Corp. forms the International market at popular prices after the war, perimentation in television network Telecommunications Laboratories, the 5 -inch high -voltage tube will be used transmission is requested of the Inc., a new $2 million corp. to make in a unique reflective optical system, de- Federal Communications Commis- possible exchange of inventions and veloped by the RCA Labs, to project to sion by the American Telephone & closer coordination of I. T. & T.'s a built -in screen an image five times as Telegraph Company. Stations would world -wide research both in tele- large as could be obtained on the 12 -inch link areas from New York to Bos- vision and radio . . . prewar direct -viewing tube, it is indicated. ton . . . In a nation -wide survey * * * Operated at a rated voltage of 27,000 made by the Sylvania Electric Prod- volts -nearly four times the voltage used Twentieth Century-Fox Film Corp. ucts Company, 50% of those inter- in the prewar tube, the smaller tube pro- to leases the inactive television station viewed expressed a desire own duces a much brighter initial image . . . W1XG in Boston and applies to FCC for a television set and indicated a will- * * * ingness to pay extra for it. Ac- an experimental license to operate the cording to Frank Mansfield, sales facilities and study new program tech- Within three years after the end of the war, more than $40 million research director of Sylvania, ap- niques . . . Marshall Field & Co., Chi- proximately 50% of those wanting cago, installs a television receiver in its worth of reemployment will stem video receivers were agreeable to radio department for demonstration of from the television station -building paying $75 or more over the usual its program on Wednesday afternoons. phase of the industry, Herbert E. cost of a radio set in order to own Field's is sponsoring a series of thirteen Taylor, Jr., Director of Transmit- a television set. Mr. Mansfield de- 15- minute video shows, every other week, ter Equipment Sales for Allen B. clares that at least 15 million peo- over Station WBKB ... Admiral Corp., DuMont Laboratories, Inc., tells the ple would pay the minimum of $75 radio set manufacturers, inaugurates a New York Chapter of the Interna- additional, 6,100,000 would pay $125 series of experimental weekly tele shows, tional Ass'n of Public Employment 10 extra, and 2,200,000 would pay $300 also over Chicago's WBKB . . . Services. In major metropolitan markets, he anticipates $1,163,143,- additional ... * * * * * * 200 in potential sales of receivers First television program to be de- William H. Block Co., Indian- The public's interest in television cur- ... signed specially for the entertain- apolis, Ind., files an application for rently is quite high judging from the ment of servicemen in New York permission to erect a commercial results of a demonstration given at a local hospitals equipped with sets is the tele station in that city. furniture store in Chicago. A crowd of Blue Network's "Letter to Your * * * about 250 gathered at the Central Appli- Service Man," telecast from Du- ance and Furniture Company to view the Mont's WABD ... That television, Television stations throughout the na- program from Balaban & Katz station, "the most important means of mass tion paid tribute to the memory of Frank- WBKB, without any advance publicity communication yet developed," will lin Delano Roosevelt after word of his other than word of mouth advertising mushroom into a huge industry in death had been radioed to the world, beat- and personal invitations. . . . Tele- postwar period, with many hundred ing all newspapers to the streets by several vision is envisaged as a five to ten billion television towers networking the hours. All commercial telecasts were dollar enterprise in the postwar era by country, and providing additional cancelled for a three -day period and sta- Dr. C. B. Jolliffe, a vice president of hundreds of thousands of dollars, is tions devoted programs to various phases Radio Corp. of America, who told mem- predicted by Dr. Otto S. Schairer, of the late Chief Executives life . . . bers of the American Institute and the vice president in charge of RCA Dr. Ray H. Manson is named new presi- Institute of Engineers that the impact of Laboratories, Radio Corp. of Amer- dent of Stromberg- Carlson, Rochester, television on our mode of living will be ica, on the weekly Business Forum N. Y., set manufacturers ... Thomas F. "revolutionary." program presented by the Com- Joyce, formerly general manager of RCA - * * * merce and Industry Ass'n of New Victor Division's radio, phonograph and television department, purchases an inter- Emerson Radio & Television York over Station WMCA . . . Corp., launches a billboard cam- Psychological tests conducted in est in the business of Raymond Rosen & paign, the first poster heralding the television's early years show that Co., Philadelphia distributors, and will arrival of television with the slogan television is at least 10 times as act as general manager for that firm. of "A Theatre in Every Home" .. . effective as radio in conveying in- (Continued on page 10)

8 TELEVISER

www.americanradiohistory.com the press 44° THE PUBLIC RELATIONS DIRECTORY AND YEARBOOK lists the names of thousands of indi- viduals, organizations, associations and institutions interested in the tides of public opinion. It helps them to disseminate information, to find tie -ups for publicity, to better time their campaigns and to locate sources of facts and figures.

RECTORY and DIRECTORY en en a list of rela- timee and public the first and infor- publicity available in publicity sources rionstions suggestions ublictt l the publicity, to a ntatünmation Cooperative people more reaches from contacts kndpthat result people time, will r of shorter thousands made with the and institutions

Over The 1945 -6 Directory forty experts Ma comprehensive have contributed and Supplements- $15. anned public to business, relations can individual an institution, do for a task of informingWhoever undertakesfor an this the public r the to -do l of knowledge profit advice. and The Public of EVENT dar tc Relations S of Eve nts pre -Date sions will suggest Calen anpest timelyti for p ublicity y oocca- will promotion. planning ideas many wpply To Public Relations Directory and Yearbook, Inc. of advance 82 Beaver Street, New York 5, New York.

Please send a copy of the PUBLIC RELATIONS DIRECTORY AND YEARBOOK (and supplements) for 1945 -46, at the price of $15, to

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Address TO SECURE YOUR COPY CUT OUT AND MAIL Enclosed find Check L] Mail C.O.D. Il

www.americanradiohistory.com manager, in a talk to 20 exe_u`ives from by video stations rate bouquets .. . - TELE HIGHLIGHTS Gimbel Bros. The occasion was a visit Donald DeNeuf, assistant manager (Continued from page 8) by the store officials to inspect WRGB's communications division of the facilities. The group was headed by Raytheon Mfg. Co., discusses

The first television program ever Bernard F. Gimbel... . micro -waves before Television broadcast from Washington is trans- Press Club of New York ... Plans mitted to Philadelphia over a new * for creation of a coast -to -coast tele- multiple -relay television network vision and broadcasting networks developed by the Philco Corpora- Television pictures already rival the by micro -wave radio relay links be- tion. Appearing on inaugural tele- home -movie in detail and brilliancy, tween stations erected atop 9 cast are Paul A. Porter, chairman Brigadier General David Sarnoff, RCA western mountain peaks revealed of the Federal Communications president, tells stockholders at annual by Raytheon Manufacturing Com- Commission, Dr. Karl T. Compton, meeting ... Television will be needed pany .. to help maintain the $140 billion na- president of Massachusetts Insti- * tute of Technology, and John Bal- tional annual income which will be lantyne, Philco president ... Boxing needed to prevent unemployment, the Gimbel Bros. probably will be the first enthusiasts who have been watching Boston Ad Club is told by Paul L. Cham- department store chain in the country to matches over the National Broad- berlain, General Electric sales executive install intra -store television systems in casting Company's television station ... Four hundred cities in the U. S. will their individual establishments, according WNBT have shown an exception- have tele stations, "all operating at a to trade reports ... Feasibility òf running ally high interest in those telecasts profit" within 10 years more, according a television program on film over a "first- as evinced by a recent survey in to Philip I. Merryman, National Broad- run" group of stations and then a re -re- which 94.4% of the persons polled casting Corp.'s director of facilities re- lease in the same locality at a later date identified Gillette Safety Razor Co., search, in a talk before the Institute of is seen possible by Ralph B. Austrian, ex- Inc., as the sponsor of the bouts. Radio Engineers ... Retailers in Buffalo executive vice president of RKO Televi- Concerning the reception of the are warned by Lee McCanne of Rochester, sion, before a Los Angeles meeting of the vice of Stromberg- bouts in the home and in public N. Y., and president Society of Motion Picture Engineers... . places, more than 90% indicated Carlson that customers who buy the first Small movie houses in cities all over the that the pictures were either very postwar television receivers should be told country will close up because of the com- clear or fairly clear. they will be obsolete within five years .. . petition of television sets in the homes of The Photo Products Dept. of the E. I. the public, Joseph Geri, president of the * du Pont de Nemours of Wilmington, Sonora Radio & Television Corp., tells joins the TBA as a member... members of the University of Chicago All telecasting activities of Philco are * * * Sociology Club. brought together by formation of a Tele- * * * vision Broadcasting Division and appoint- Films of the San Francisco Con- ment of Ernest B. Loveman as the vice - ference are televised ... A new Final frequency allocation deci- president in charge.... A preview of book by Richard Hubbell, produc- sions on television and Frequency postwar Teleset designs is shown by tion manager of Crosley's WLW Modulation announced by the Fed- Allen B. DuMont Laboratories. Large - in Cincinnati, entitled "Television eral Communications Commission. screen projection television receivers and Programming and Production" is Alternative No. 3 is selected by the combination receivers containing a 20- published ... Resignation of Hoy - Commission, to the apparent satis- inch cathode -ray tube plus FM, AM, and land Bettinger, program manager faction of the entire video industry. phonograph equipment with storage space for WRBG, G-E's tele station in . . . The American Broadcasting for record albums, which will be manu- Schenectady is announced ... By Company (the Blue Network), factured by the firm after the war is the end of this year the Bell System WOR and WNEW give up their shown to the press. Prices range from of the American Telephone and television slots at WABD when Du $1250 up to $1500. Also shown is a Telegraph Co., expects to have 2000 Mont decides to charge $1250 an custom -built installation with receiver miles of its coaxial cable network hour (or fraction thereof), boosting for re- built into the wall of the room. . . . manufactured and at least 1500 the rate from $50 per hour Television will have a brighter future than miles in the ground, it is indicated hearsal time. Previously everything FM (Frequency Modulation), Robert E. . . . France, through the French (airtime plus rehearsal time) was Dunville, general manager of Station Broadcasting Administration, de- free ... FCC's "green light" sets WLW and vice president of The Crosley clares its plans for 1945 are to order off wave of speculation regarding Corp., tells members of the Cincinnati experimental tele equipment so as television's immediate future . . . Engineering Society.... Use of television be able to choose an up -to -date General Electric Company demon- by large department stores to help train standard in about a year's time. Co- strated its 17" x 22" rear -projection sales personnel and for employe enter- lumbia Broadcasting System en- screen before large assemblage of tainment purposes, as well as an ad me- dorses France's intended standards musicians and newsmen at the Wal- dium, is visualized by James D. McLean, as similar to those advocated in dorf- Astoria on June 27 ... Keep General Electric video equipment sales U. S. by CBS ... V -E day coverage your eyes on television !

IO TELEVISER

www.americanradiohistory.com TELE -VIEWS By ROBERT ENASH

Abbott -Kimball making plans to open television film department. West Coast has, as tele client, a Mexico City depart- ment store . . . WCBW preparing for vast expansion of staff; enlarging offices to handle new business. Jim Kane, recovered from recent illness, back at pub- licity desk at WCBW. Pinch hitter, Joe ...... teleVISION Hevesi, remains as Kané s co- worker . . . George Shupert, ATS head, started regime by placing Society on record as advocating quick acceptance of television alternate plan No. I by the FCC, joining TBA and FMB! ... Milton Robertson, radio and tele scripter for WNEW, has resigned to join Trans -American ... Miss Ruthe Broune, formerly of the Leland Hayward office, has joined tele staff of Al Paul Lefton Agency. She replaces Miss Rose Zadek ... Stanley Kempner, radio -tele- WE take pride in the fact vision: editor of Retailing Home Furnish- ings, doing a television encyclopedia of that our organization was among the very one thousand pages, illustrated, for pub- lication sonie time next year by Fairchild first to appreciate the potentialities of this ... Philco's plans for low cost home tele- vision receivers bear watching ... James great new medium. Since 1941, continual McNaughton, Hollywood designer of sets for "The Valley Of Decision" and "The study and experimental programming for Picture Of Dorian Gray" doing the sets for Lever Bros. show, "Fashion Shots" many clients has given us an understanding . . . WNBT covered Gen. Eisenhower's day in New York and Washington. of the field, and the problems involved. Filmed parade, luncheon and reception

. . . Robert Clarke, station engineer at WEAF, has been appointed television

operations supervisor for WNBT . . Ralph Austrian of RKO Television, just in from the West Coast, says New York .Ptiefit. will be center of television activities for some time to come ... Patricia Murray, of Printer's Ink, compiling a "Who's Who In Television" for her publication to in- clude agencies, directors, producers, sta-

tions and writers . . . Many letters re- ceived from readers indignantly refuting Westbrook Pegler's assertion "television NORMAN D. WATERS & will be a crude and expensive disappoint- ASSOCIATES ment." .. . Bill Still, young Negro en- gineer, will have his experimental tele- }}INCORPORATED vision station W2XJT operating on Chan- ì4 civeriisilig £7geiiei' nel 13 by July 1 ... Norman Corwin and Gilbert Seldes covered television at the 1140 BROADWAY, NEW YORK 1 "Conference of the Arts, Sciences and CAledonia 5 -7430 Professions" at Waldorf- Astoria on June 23... TELEVISER

www.americanradiohistory.com Mondays: 8 to 10 p.m.-Films and How to Visit A Television Station pickup from New York City Wednesdays: 8 to 10 p.m. -Live shows By BARBARA E. JONES and films Readers' Service Bureau Fridays: 8 to 10 p.m. -Films and THERE are nine television studios To arrange for tickets, call or write sports or drama. operating in the United States as of Mrs. O'Neill. (Studio guests are usually Viewing rooms in basement seating of June 1, 1945, and approximately limited to press and persons associated about 50 people. Viewing set in client's nine million people who have felt a desire with the radio- television industry.) booth for special guests, and set near to visit a station and watch them in control room in back of studio around action. It is easier said than done. Many which about 15 to 20 people can stand. Rockefeller Plaza, of the television studios are closed to the WNBT (NBC) -30 Seating in the studio proper for about 7 -8300. public, although if you have a connection RCA Building. Telephone: Circle 100. Write to station for tickets. with the television industry through the Ninth floor. press, an advertising agency, radio, films, On the air - PHILADELPHIA 10:00 p.m. theatre, or through the company or net- Mondays: 8:00 to -Films WPTZ (Philco) -Tioga and "C" Streets. Wrestling work that operates the station, your Tuesdays: 8:30 to 11 p.m.- Only films being televised now. No studio Arena chances are fairly good. The stations are from St. Nicholas audience. 8:00 to 11 p.m. box- as follows: Fridays: Films; Square Garden ing from Madison LOS ANGELES NEW YORK CITY Saturdays: 7:00 to 9:00 p.m.-Chil- Ave., W6XYZ (Paramount Pictures Inc.) WABD (DuMont) -515 Madison dren's show, live and film - PLaza 3 4551 Marathon Street, Hollywood. cor. of 53rd St. Telephone: -9800. Sundays: 8:00 to 9:00 p.m. -Live On the air Second floor. Studio "B ". show and film; drama. - Wednesdays: 8:30 to 10 p.m. -News On the air - Call Mr. Kalmus, WNBT Publicity and variety, or puppets Tuesdays: 7:55 to 9:30 p.m. -Live Department, for tickets. Open only to Fridays: 8:30 to 10 p.m.- Travelogues, shows and films members of the industry. Viewing set in 10:15 soldier shows, drama. Wednesdays: 8:00 to p.m. -Live Room 980 for about 35 people. shows and finis Only live shows emanate from this Thursdays: 8:00 to 9:30 p.m. -Live station; no films used. Station very small; CHICAGO shows and films. public not invited. Viewing facilities for & N. State Facilities for viewing include the "Tele- WBKB (Balaban Katz) -190 about a dozen guests. theatre," which seats 45 comfortably; Street. KTSL (Don Lee) -Not operating. air two client rooms seating a total of 10 On the - The above program schedules are Tuesdays: to 10 p.m. shows persons, and a conference room with 7:15 -Live typical and subject to change. Extra viewing facilities for ten persons. The 'and film; news shows are often given at all of the studios, to 10 p.m. client rooms are reserved for just those Wednesdays: 3 p.m.; 7:15 and off- the -air time varies in each case. shows and film people, or special guests of the studio, -Live p.m. Live or advertising agency executives. View- Thursdays: 7:15 to 10 - news ing from the studio is also possible in shows and films; to 10 p.m. -Live shows Readers' Service Studio B (2nd floor) from a "ramp" Fridays: 7:15 news. which seats about 50 persons. No viewing and film; Bureau: Treasury shows for War Bond Drives from 42nd floor Studio "A ". To further a better under- at 12:30 noon on Wednesdays. To arrange for tickets, call or write aired standing of television among its Extra shows occasionally on Thursday Miss Wolfe, WABD Guest Relations, as readers TELEVISER- through its and Friday afternoons. far in advance as possible. Readers' Service Bureau-assists Public is invited to the Television subscribers as follows: Theatre atop the State -Lake Building. WCBW (CBS) -15 Vanderbilt Avenue, 1. Furnishes lists of current to station for tickets, and enclose Grand Central Terminal Building. Tele- Write hooks and articles on television. a stamped, self -addressed envelope. Two phone: MUrray Hill 6 -6340. Third floor. 2. Mails books, at publishers' allowed per request. Tour of studio On the air tickets prices, to subscribers in the - technical facilities after studio goes Mondays: 8:00 to 9:30 p.m. -News, and U.S.A. and overseas. off the air. films and live show. 3. Arrange for visits of sub- (Zenith) regular schedule. Tuesdays: 8:00 to 9:30 p.m. -News, WTZR -No scribers to New York and Chi- telecasts spasmodically. films and live show Filar cago television stations. Thursdays: 8:00 to 9:00 p.m. -News, 4. Furnish speakers to groups films and live show SCHENECTADY within 100 miles of New York; Studio facilities for viewing: Chairs on WRGB (General Electric)-Washing- lecture slides elsewhere. raised platforms seating about 75 persons. ton Avenue and State Street. 5. Free literature issued by Also a viewing set, in the office of Mr. On the air - television manufacturers, stations Gilbert Seldes, which accomodates about Sundays: 7 to 8 p.m. -Live shows and and networks. 20. films

12 TELEVISER

www.americanradiohistory.com I: PROGRAMMING AND PRODUCTION

The Blue Network's "Letter fo Your Ser- viceman," broadcast from DuMont's New York television station, WABD. Station was converted from regular office- building space

CONVERTING FROM RADIO TO VIDEO BROADCASTING By DR. ALFRED N. GOLDSMITH

TODAY the United States has many with consequent unusually high obsoles- tinued employment of many men and hundreds of standard and frequency - cence of equipment and methods, the fu- women and a corresponding contribution modulation stations for broadcasting ture situation seems rather exceptionally to the prosperity of the country. sound programs. And hundreds of ad- difficult in these regards. It may be that In the light of the above circumstances, ditional FM stations are planned. It also many broadcasters will find it imperative the broadcasters will naturally be deeply has a comparative handful of television to transmit television and FM and stand- interested in possibilities of salvaging any broadcasting stations in operation al- ard broadcasting programs. Since the total portions of their existing investments or though plans for future television sta- radio audience has inherent limits, it is utilizing their present plant as effectively tions, taking effect as soon as the corre- obvious that adequate returns on a broad- as possible for future purposes. sponding production restrictions are casting investment in the future will re- lifted, are indeed ambitious. quire great foresight, skill in operation, Can Stations Be Converted? For years to come, it is clear that broad- and financial acumen on the part of the A most natural question is therefore: casting stations on the standard frequen- broadcaster. Further -and this must be to what extent can a standard broadcast- cies, FM broadcasting stations on the particularly stressed-it will also require ing station be converted, at least in part, ultra -high frequencies, and television a genuinely sympathetic attitude on the to television purposes? The answer will stations on the ultra -high frequencies part of the governmental regulatory largely depend on the "closeness" of the (and perhaps on even higher frequencies) authorities and a minimum of unnecessary original design, so to speak. If a standard will operate simultaneously. Broadcasting interference with the plans and proce- station has 15 -to -20 -foot headroom in its traffic will shift from one type of station dures of the broadcasters. Nothing less studios; if its studios have relatively low to another in a way which is dependent will permit the success of broadcasters in and controllable reverberation and are of on the future rates of development of the face of a complicated and not inex- liberal size; if it has a number of spare these arts and the relative public accept- pensive operating situation, an increase in studios of fair dimensions; if there is an ance of each of them. material costs, enhanced labor returns, abundance of extra space in or adjacent While the radio field has always been and a high tax level. And only the success to the existing studios of a type which notable for its rapid growth and change, of the broadcasters will permit the con- will permit television uses; if the wiring TELEVISER 13

www.americanradiohistory.com ducts and other arrangements of station tion to sound broadcasting. Among the control -room equipment, control rooms are ample and will permit running plenty former are the microphones and their suitable for television production and of additional cables or conductors through booms, audio amplifier systems, conduit monitoring purposes, and a link from the these channels; if the studios go through arrangements, acoustically treated studios studio video channels to the television at least two stories of the building in and control rooms, administration space, transmitter. which they are located; if the structure and an audio channel from the studios to It is clear that skilled architects, prefer- can carry substantial added loads; if the the transmitter. Among the more special- ably with motion -picture or theater ex- power supply lines to the station are ized video facilities which are required perience, lighting and acoustic experts, ample to carry an extra television load; for successful television operation are in- air- conditioning specialists and last, but and if the station towers are sufficiently cluded more numerous and larger studios, not least, competent television engineers high and strong to support a television more building space and surrounding land are required to plan such an installation antenna in addition to their present load, than would otherwise be needed, towers in a fashion that will later satisfy the it is clearly possible by ingenuity in a adapted to carry the load of more than owner and permit efficient and economical conversion design to utilize a fair portion one antenna and of such height as to per- operation. We may, however, confidently of the existing facilities, with suitable mit good television coverage, a larger expect that systematic study of the prob- modification, for television purposes. power supply than necessary for sound lems mentioned in this discussion will It is out of the question to lay down a broadcasting alone, highly specialized and enable substantial economies to be offered general conversion scheme in any detail well arranged studio lighting permitting the prospective television broadcaster who since each station and its studios will good television pick-up, a larger air -con- is already in the broadcasting field and to present an individual problem which will ditioning capacity than otherwise neces- enable him to cushion the impact arising require elaborate and ingenious study sary in order to keep the strongly lit stu- from the expansion of his activities. and planning to determine the most suit- dios at a comfortable temperature in sum- Whatever else it may be, television is cer- able, speedy, and economical measures. mertime, carpenter and paint shops, scene tain to be a field where experience and docks, dressing rooms, video channels brains will be more than merely optional The next question which will face some consisting of cameras, amplifiers, and for successful planning and operation. broadcasters. is: can an FM broadcasting station be converted to television uses and with continued FM operation? The an- swer is similar to that suggested in out- WHO ARE THE STATION APPLICANTS? line for standard broadcasting stations Televiser's Washington Bureau except that the specialized ultra -high- frequency experience of those handling LET'S look at the record of televi- fishers, with upwards of sixty-five news- the station should be exceptionally help- sion as it appears in the files of the papers, have applied for a total of 31 ful in planning the conversion job. Fur- FCC as of this date (June 1st). SECOND most important group are the ther the antenna construction and tower Of the 136 applications on file 129 are radio- television manufacturing companies, location are likely already to be fairly well for "downstairs" channels (below 480 with ten companies asking for 25 video adapted to television purposes (with suit- megs.), 7 are for "upstairs" channels. outlets. They own four of the six commer- able additions and modifications). The 136 applicants are located in 27 cial video stations now on the air. to use a To the broadcaster who plans states and the District of Columbia. New THIRD largest group are department single new installation for television, FM, York State leads with thirteen commercial stores. Among them are Wm. Filene's, and perhaps also standard broadcasting, applicants, four video stations already in Boston; Wm. H. Block Co., Indianapolis; since the the problem is much simpler operation, and experimental station Maison Blanche, New Orleans; Bloom - The designer can "start from scratch." W2XJT, for a total of 18; California, ingdalé s and Abraham & Straus, New studio, control, transmitter, tower, and second, has 14 commercial applicants, one York; Gimbel Brothers, Philadelphia; antenna facilities of these various types experimental station, and KTSL (in The Outlet Company, Providence, and of stations can be combined in various process of construction), for a total of Havens & Martin, Richmond. In New neat and economical ways to produce an 16; Pennsylvania is third, with fourteen York, R. H. Macy Co. participates in the will "amalgamated" installation which video applicants (one already operating) ; ownership of the Bamberger Broadcasting all three purposes. It serve admirably for Ohio, fourth, with eleven; the District of Co. In Philadelphia, Lit Brothers own will be necessary to plan such an installa- Columbia is in fifth place with eight ap- 100% of common stock of WFIL. This tion with great flexibility and the ready plicants. Massachusetts has seven. makes a total of 11 stations directly or possibility of making later changes as The 116 applications for commercial indirectly under department store in- television, for example, develops further. are fifty cities. Five video outlets from fluence. But, given good foresight, such planning cities (Hollywood, Jamaica, Fort Wayne, seems reasonably possible. South Charleston and Iowa City) will FOURTH in importance are the motion have experimental tele stations -but not picture companies and theaters. Five film Assets to Conversion one commercial outlet! companies have applied for stations, including Hughes Productions in Los A television station will, because of the Delving further, we find 65 firms own- Mateo County, Califor- nature of that art, require some facilities ing AM stations have filed for a total of Angeles and San which are well adapted to sound broad- 86 commercial video outlets. nia; MGM in Los Angeles, and Warner casting and others which have no applica- FIRST are newspapers. Twenty -five pub- Brothers in Hollywood.

14 TELEVISER

www.americanradiohistory.com TYPICAL TELEVISION (master of ceremonies) breaks into a huge "BONERS" "ever -so- charming," "glad - to - have - you - with-us" toothsome smile when he has AND THEIR suddenly become aware that he's on the CURE! air, although just a moment before he was picked up by the camera looking very FVERY new art goes through a "trial- result of inexperienced directors; and solemn, almost terrified. This sudden tran- and -error" period, one which is performers who were not yet "camera- sition invariably causes the audience to often marked by clumsy experimen- wise." howl. It can be avoided by having the tation by those striving to master the new Here are a few typical examples of announcer take on "on- the -air" position art form. This was as true of the theater, boners that occurred on television shows as soon as he takes his place in front of the screen and radio as it is of television. -and how to avoid them. the cameras. The experimental period of any art is On Your Mark usually memorable for the crop of Romeo, Romeo ... "boners" it produces in such seeming pro- (1) The viewers of an early commercial (3) In a performance of "Romeo and fusion. program were highly amused and cha- Juliet," Juliet was seen on the balcony In the early days of modern television grined to see a polished announcer, im- giving her lines: "Romeo, Romeo, where- (circa, 1941 to 1944), when the video maculately dressed in Brooks Brothers' fore art thou, Romeo." The camera then art had not yet reached the comparative best, vigorously scratching his nose just panned down to Romeo for his lines, professional level it sometimes now en- prior to making his opening announce- while a second camera was trained on joys, programs were often remembered- ment. What had happened? The director Juliet. While Romeo had the scene, telling i not for their content -but for the had switched to the announcer just a few Juliet of his great love for her and "what's "boners" that almost inevitably occurred. seconds before he was to go on the air in a name," the director decided on a Although thoroughly annoying and dis- and caught the announcer unaware. The quick switch to the balcony to register comforting to the directors, the boners director could have avoided this boner by Juliet's reactions. Juliet, as seen on the were often extremely amusing to the tele- having transmitted a "stand -by" warning screen, was pulling up her garters and viewers, and at times quite mystifying, to to the announcer. On the other hand, the squirming around in her girdle. The say the least. announcer should have taken an "on -the- boner was primarily the fault of the per- air" position as soon Sight Minus Sound as he stepped in former for having assumed an "off -the- front of the cameras, prepared to go on air" position. It was also partly the re- Common among the early boners was the air the moment the light on the camera sponsibility of the director for having de- the sight of performers appearing upon flashed RED. cided on a shot which was not previously the television screen without any discern- (2) A common boner, one which still planned and rehearsed, and of which the able sound emanating from them. This occurs in many stations, results when a actors were not aware. was especially annoying to the audience station announcer or program "emcee" (4) In the last scene in the same per- when the actors seemed to be engaged in a very humorous bit of dialogue. In the control room, upon discovery that the all - important "audio" had not yet been turned on, a flurry of excited activity and quiet cursing would occur, and finally the audio would come through strong enough to blast everyone out of their seats. Often the reverse was true. There would be the dulcet tones of a singer, or the sounds of a popular tune from the deft keys of a piano, and nothing to be seen but a lot of squigly lines chas- ing each other across a screen. Upon quick investigation, the director would find that the camera was not turned on in the studio, or hadn't been turned on in the control room, or that the camera man had carelessly left the lens -cap on, or that the patched -up camera cable had broken again, or the iconoscope was burned out, or the transmitter wasn't operating that night. Although some of the so- called "boners" were due to technical failures, many resulted from lack of experienced Costumer Sending the Wrong Costume, None, is studio technicians. or Typical Television Boner. The Actress n Others occurred as a "Whisker Care d Feeding" Had to Use a Table Cloth Cover. TELEVISER 15

www.americanradiohistory.com formance, the audience saw the supposedly dead Juliet push the allegedly dead Ro- meo from her bosom, get down from off the bier, and begin to adjust her clothing before the director had an opportunity to fade the scene from the screen. The boner occurred because the director failed to impress upon the actors the dictum: no television show is over until the last camera it turned off! Blind Spots (5) Since no script may be used during a performance, there is always the danger that a performer may not remember his lines. During a recent performance a television actor suffered a blind -spot in, his memory and uttered: "By gosh, I've and Collapsed forgotten my line." The only way boners Another Boner Resulted When the Studio Heat Reached 120 . The Candles Melted like these can be avoided is through suffi- in the Middle of Show. Plaster Is Now Used. cient rehearsal -until every actor is letter perfect in his part. If an actor forgets a line, he should ad -lib the best he can; or (9) Often errors occur of which the the men's suit buyer, who then goes into the his line should be "thrown" to him by the director has no immediate control. An a long discourse on the merits of actor to whom he's playing. example is a recent show, in which the particular brand of suits. Both the men's the tailor in the following (6) Because of the extreme heat given script required several racks of men's suits wear buyer and store employees, placed there off by the incandescent lights under which to simulate a men's department in a de- scene were of the sponsor. They actors work in most present -day studios, partment store; also a tailor shop of the on the insistence they could hardly be under- gummed hair has a tendency to become same store. When air -time came, the direc- spoke so that appeared uneasy and uncom- dry and brittle and to drop off. In a num- tor, much to his horror, found that the all stood. They looked as though they would ber of instances fake beards, mustaches important props had not arrived. There fortable and to have been anywhere and mutton -chop sideburns have been was not even a single suit, although the have preferred broadcast. The ludicrous con- known to come off during a performance, show was allegedly the story of a suit. but on the the two suffering non -pro- to the considerable embarrassment of the After rather hasty improvising, the show trast between performers, blinded by the hot actors, but to the hysterical laughter of the opened on what was supposed to have fessional and the professional actors, with televiewers. To avoid such embarrassment, been a men's department, with one lights, perfect diction, looking perfectly at double strength gum should be used, gen- scrawny looking coat -tree from which their in the studio, became immediately erously applied to the adhering surfaces. hung the limp jacket of a tired -looking home obvious to the audience. The moral: don't Care should then be taken that the false suit-the director's. When the time came and non -professional facial excrescence should not be stroked for the tailor shop scene, instead of a mix professional performers, except in audience participa- during a performance. tailor's bench and tailor's large electric (or gas) iron as planned, the audience tion shows where the non -professional's is to provoke laughter. Studio Heat saw a conference table on which an al- behavior certain On a commercial show, where every per- Speaking of studio heat, there was leged tailor squatted, Mahatma Ghandi (7) former must be an experienced actor to a in which a beautifully fashion, fondling a pair of trousers -also once commercial put the commercial across, use only pro- set table, with silverware by Black, Starr the director's. Here's what had happened. racks and props fessional talent! & Gorham, was decorated with two lovely The truck with the suits, the studio late Saturday silver candelabra holding tall wax can- had been sent to Watch Film "Clips" dles. You guessed it! The two candles night, after the close of the store. When was up in the melted and collapsed just as the camera the truck arrived that night the studio (11) Boners are apt to crop impor- live shows for focussed on the table. Moral: Use plaster closed. Moral: Where props are employment of film in scenes. One or wood candles next time. tant, the director must insist that they be atmosphere or transitional resulted (8) Studio heat may change the best at the studio a least three days in advance boner which caused chuckles may first showed a made plans. A frozen pudding was about of the broadcast, no matter how it when the film sequence wood- burning to be demonstrated in a commercial. When inconvenience those who are involved. train, powered by an old a sleek the actors got to the supposedly frozen (10) On the same show, another boner locomotive, suddenly change to wasn't all! pudding they found, instead, sweet melted occurred, one which was corrected on sub- Diesel -engine job. But that a train cov- mush. From that time on, frozen puddings sequent shows. The scene was to open The first film "clip" showed through moun- and ice cream were taboo. Finely mashed with two highly professional actors dis- ered with snow, going film "clip," potatoes, with color added, were used in- cussing their suits. They then go to the tainous country. The second train, now stead. alleged men's department to be greeted by showing supposedly the same TELEVISER 16

www.americanradiohistory.com showed it speeding alongside waving palm trees in tropical Florida. This boner What the "Man -On- The - Street" had occurred through carelessness in edit- ing the film clips while splicing, and ne- glect to screen the finished product before Thinks of Television! using it. Other boners occur when films are not timed properly, and not properly By MARIAN THOMAS integrated in the production. This often results from lack of rehearsal with film, Interested in knowing what the man on thing about sharing a mood with other the director often assuming everything the street really thinks of television The people that is necessary to enjoying a will turn out all right -so why bother? TELEVISER asked 200 people, selected at heavy drama." How Easy! random, what they expect of postwar Lt. D. F. Rowland of U. S. Navy, Dal- television. Some of the answers, typical of las, Texas: "My demands and wishes are (12) A boner once occurred during a those received, are published below: rather impossible to grant right now, but telecast of the commercial for a mending - Mr. L. D. Francis, 1561 Metropolitan I would like to see television in color. It tape product. The object of the commer- Ave., Bronx, N. Y. Laundry Manager: present black and whiteness that is too cial was to demonstrate how easy and "I would like to see Broadway plays with often varying shades of gray, make it hard effective it was to mend with this particu- the original casts, if possible. I should to watch. As far as programs go, I'd like lar mending -tape. Said the announcer: also like to see news events as they happen a well balanced variety. The commercial "Now watch this demonstration. Watch all over the world. Four hours a day should be brief, yet an integral part of how simple it is to mend with XYZ would be enough for me. I wouldn't the program. I'd like to have a television Mending Tape. Just apply a hot iron, hold want it going all the time, like my radio." set that could be moved to the terrace it for ten seconds, and presto! The tear Mr. john Carroll, 1442 Webster. Ave., or dining room when I'd want it there. is mended !" As he said that the camera New York City, Draftsman: "Well, all This I know is not feasible now." dollied in for a close -up. The attractive I ask are sports and more sports. If I Mr. Charles Park blonde demonstrator slowly removed the Crissey, 52 Row, New could see movie stars and great person- York City, Newspaperman: "After the electric iron and the audience saw a big, alities once in awhile, I would be satis- war, and I think that is when television black, scorched oval silhouette. The an- fied. Say, this is going to wreck the movie will really go ahead, will nouncer, however, not noticing the burned people be hun- industry, don't you think ?" gry for escapism. If television can give us table cloth, continued to read his com- Mr. Alex Greer, 210 East 57th Street, real entertainment, kind mercial while the camera remained fo- the of programs New York City, Certified Public Ac- everyone will enjoy, it will cussed on the table cloth. Said he: "Now do its job. countant: "Boy, imagine Hedy La Marr Television has a great in- isn't that lovely! Isn't that beautiful! Isn't opportunity to in technicolor with a good band playing fluence the life that simply amazing! Yes, you, too, can and thought of America." soft music. That would be something! Miss Newark, J., do as well. So buy a package of XYZ Sara Goldwasser, N. Mending Tape tomorrow!" Seriously, I saw one play on television Dress Designer: "There are certain radio and all they did was sit around and talk. programs I should like to see on televi- If Happens to the Best It wasn't as good as the movies. I would sion. However, I should also like to see Boners occur because of carelessness, want something as good as the movies or new people, especially trained in televi- often the result of inexperience. They I wouldn't invest a lot of money in a sion, become the stars of television. I want occur because of haste in program prepa- television set. I'd like to be able to turn to keep an open mind on this new enter- ration, with the resultant overlooking of it on at any time and see something hap- tainment form, for I believe it will deviate details-until it's too late! They occur pen." from what we have had before. I should because of too much confidence in sub- Miss Florence Blauvelt, 3203 Park like new ways of presenting old things. ordinates, in the belief that all details will Avenue, Bronx, N. Y., Secretary: "I look New techniques in acting, different con- be adequately taken care of by them, forward to television bringing amuse- cepts of stage sets and lighting." when a quick inspection would determine ment into my home. Knowing that I can Walter D. Kerriwell, Red Bank, N. J., otherwise. They occur because of a lack of turn my set on and see a show will be Real Estate Broker: "Above all, I would performers trained in the rudiments of wonderful on cold or rainy nights. I think want my television receiver, when I can camera technique, studio procedure, and television should give a thought to pro- get one, to bring me vivid news. Person- television practices. They occur because grams designed for shut ins, invalids or alities in the news and actual day by day the person directing the show is often not young mothers tied to the home. Special happenings. When such an important suited for the job. programs for sick people should be broad- development as the San Francisco confer- They also occur because it's still human cast every night." ence is in session, I should like to have to err! Mrs. Lillian Klaster, 441 West End a first row seat, or the inauguration of the -Irwin A. Shane Avenue, N.Y., Lieutenant in the AWVS: President or similar events. As far as "I can hardly wait until I own one. Right entertainment, I would still prefer the I wouldn't movies and the theatre. As for music, I'd RENEW ... now be too fussy about what I'd see. Television will eventually outstrip prefer my record player. The distraction 'i LI I TELEVISER Subscription radio. I would like to see some operettas of watching an orchestra perform detracts Today-Don't Miss A Single Exciting Issue. and musical comedies. On the other hand, from one's enjoyment." I wouldn't like dramas. There is some- (Continued on page 37)

TELEVISER 17

www.americanradiohistory.com pulls their television show? WILL PRODUCE These are a few of the problems that WHO the networks face, but they aren't all by any means. There are problems of pro- PART II duction quality. Agency executives believe TELEVISION? the programs of a "closed' studio" would develop a "sameness." This would cause * * * will "soar to its present heights." They television audiences, after a time, to lose tele- (In the Spring issue of TELEVISER ap- therefore resist being frozen out of interest in the network's offerings. Just may so far as to boycott peared the article, "Who Will Produce vision, and go as one wouldn't care to watch pictures to Television." Many readers asked for ad- those networks that attempt eliminate only of Warner Brothers, or Republic business ditional details regarding the problems them as producers, giving their Pictures Corporation so one wouldn't care will accept that may be faced by television's postwar only to those networks that to watch programs every evening that bear producers, especially the networks, the their agency -produced programs. the unmistakable production stamp of the to stress agencies, and motion picture people. After The agency men are also quick National Broadcasting Company or the a network produced show an extensive survey, the editors of TELE- that every time Columbia Broadcasting System. VISER are pleased to publish this supple- is broadcast, that network will be "stick- ment to "lVho Will Produce Television. ") ing out its neck, to be chopped off the To Hold the Audience minute a program fails to click." As a * * * A freshness in techniques, a variety of result of a "turkey" (video jargon for a directorial treatment, a bold use of cam- WITH millions invested in televi- failure), the network would immediately networks are eras, a wide variety in choice of material sion, the two leading lose the business of "Flakso" soap and tele- and talent -all these are necessary, they formulating their postwar very possibly jeopardize all of its business feel, to hold a listener's interest night vision plans with a view of recapturing with "Flakso's" advertising agency. as quickly after night. This, they point out, is pos- as much of their investments Still another question arising is how sible only when a wide circle of producers, as possible as soon as conditions permit. the networks will sell their shows. Will for the each with his own program ideas and It appears that these plans call they be placed on the auction block and let talents, unrestrained by any fixed network exclusion of outside productions, with all advertisers bid for them? If the shows the production pattern, contributes to an eve- shows broadcast by the networks to be what if two or more ad- are price -fixed, ning's entertainment. produced by their own personnel, using vertisers, competitors, want the same pro- working for a performers and name talent already under gram? Who gets it? Directors and producers inclined to follow a contract to them. But that's not all. Assume the maker network would be a the role of the fixed production pattern. (This is already Under such policy, of "Quickso," a competitor of "Flakso," be limited to for better or for worse, in the advertising agencies would wants a program on the same network. apparent, For years the mo- preparation of the commercials, while the Will he want the network producing his productions of CBS.) been plagued by networks produced the show -lock, stock competitor's show to produce his program, tion picture industry has a sameness which and barrel. If an agency should need a too? On the other hand, how will the a prosaic "sameness," show for a client, its only choice will be maker of "Flakso" feel if "Quickso's" an NBC -Produced a show offered by the network, or a show Snow Scene from show, produced by the same network, out- Television Drama produced for the agency according to its specifications. The Argument .. . The argument advanced by the net- works is: "Why shouldn't we profit on production, instead of merely acting as time brokers as we have been doing in sound radio? We're in the best possible position to fill the production function. We have the facilities, the money, the personnel, the talent, and the experience. So shouldn't we produce every hour of programming, with the exception of film, that we broadcast? In that way we'll also be better able to control our program- ming." Many executives hasten to warn that such a policy may cause serious resent- ment among the advertising agencies. They point out that the advertising agen- cies have produced many of radio's out- standing programs, and have helped radio

I TELEVISER

www.americanradiohistory.com stamped a picture as "Hollywood." Are we to face a similar situation with tele- vision, the agency men ask. These are some of the problems facing the networks as they begin to consider the production of all television programs that go before their cameras.

On the other hand, what about the advertising agencies with large radio pro- duction staffs, who believe they are equipped to produce all of their clients' shows? The fallacy of their thinking will quickly become apparent when they go into production. Unless an agency is prepared to drop all of its traditional functions, like creat- ing advertisements for its clients, it had better not plan to go into large scale pro- duction of television shows. The produc- tion of television programs is nearly as involved as the production of motion pictures. Yet few, if any, agencies produce their own commercial films. Scene from "David Garrick," televised The production of television programs by WOR, through facilities of WABD. in large numbers will require large staffs in the production picture, it is generally Corporation, with offices in Rockefeller of talented writers, a string of talented felt that only a few agencies will be Center, for the production of both live actors who are under contract, in addition equipped to handle all the production and film shows for television. Under the to numerous producers, program directors, that their clients will require. The agen- direction of Tom Hutchinson, this pro- musical directors, scenic designers, cos- cies may find themselves equipped to pre- duction unit is already active in New tumers, visual effects men, model builders pare some types of simple dramatic pro- York, producing live shows. Other motion and many others. grams, variety shows, fashion shows - picture companies plan to do likewise. What of 20 Programs? anything which doesn't require many Because of the large budgets required actors or elaborate preparation, but can- While an agcnry may find sufficient by motion picture production, it is be- not hope to indulge in full -scale personnel for the profitable production of produc- lieved that only the biggest budgeted tion without the agency changing its form one or two programs, they may find it shows will find their way to the Holly- as we know it. very difficult going when wood television production units. six, ten, or * * * twenty clients insist on television. Unlike The many smaller producers of com- radio, where a show is produced in a How about the film companies? mercial film will, no doubt, find oppor- relatively short period of time, in a matter Few doubts exist as to whether they tunities for production of ten -minute live are equipped of hours, a television production -if it is to produce television. They shorts, mostly dramatized commercials. to be done right -may require many days have the actors, the set designers, writers Programs and even weeks from the complete script who understand cameras, and all the para- by "Independents" to the finished production. Actors must phernalia of production. Most of all, they Just as many of radio's most important memorize lines, learn stage business -all have a 50 -year backlog of experience in network and local shows are the product of which requires time. The director may creating visualizations on a screen. The of independent producers, it is reasonable need a week or more of rehearsals if the transmission of pictures, not via film, but to assume that a good portion of television show runs an hour. by means of electronics should not prove programming will come from the "inde- Last fall one of the Manhattan agen- too challenging to them. pendents." cies, with considerable experience in tele- It is, therefore, to be expected that the Though probably the last to enter the vision, tackled a two -hour musical. More motion picture companies will enter the television field, the independent producers than six weeks went into the production, production field, not only in supplying (of which there are some 800 in radio) with each member of the agency's radio canned film programs but also in furnish- will probably originate most of the low- and television staff working long hours ing live shows. To do this, however, the cost programs and some of the higher - to get the show ready on time. During film companies will find it necessary to budgeted evening shows. The indepen- that time the agency did little else. And locate studios in numerous of the larger dents will probably also be most active in what of the physical and mental exhaus- cities and expand their organizations man- programming non - network stations, de- tion that followed? Could the pace be ifold. partment store television systems, furnish- continued week after week? Anticipating television, Radio- Keith- ing daytime programs, and the equivalent While agencies will have a definite part Orpheum has set up the RKO Television to the video "soap- opera."

TELEVISER 19

www.americanradiohistory.com 2 -YEAR LOG OF OUTSTANDING WRGB PROGRAMS

Jui) 16, I9-6. Hoe -Down Night. The studio was transformed into a huge barn, with real hay, harness, and other accessories. In addition to a variety program, devoted entirely to cowboy sub- ject matter, expert instruction and visual demon- stration of old - fashioned square dancing was offered, using two sets of dancers for the purpose -one of veteran square dancers, and one of be- ginners. This stimulated considerable outside in- "Hoe- Down" Night at WGRB. Studio Was Transformed Into a Huge Barn terest in square dancing, to judge from the mail response, the first received in any substantial amount. * * *

July 23, 1943. A Day at the Circus. This was an attempt to present as much of the traditional circus as could be accommodated. The audience in the bleachers were an integral part of the show. Atmosphere was enhanced by the ringmaster, pea- nut vendor, and other familiar circus personalities. A wide variety of performers participated, includ- ing a clown band. This was another experiment in taking an established entertainment medium and fitting it to television. * * *

August 6, 1943. This evening included a con- tinuation of WRGB commercial experiments, with three separate sponsors represented: Hamilton Watch, Vimms, and Goodrich. No fewer than twelve sets were required to put the show on; Religion at WRGB. With Little Coaxing They Moved Their Meeting Indoors ... which called for rare co- ordination, alertness, and sureness of movement on the part of the studio staff. The Vimms- sponsored portion of the pro- gram, aside from the commercial spots themselves, was a comedy, "Meet Miss Subways," written especially for the occasion. The Goodrich program included the actual making of synthetic rubber, on the spot, by Dr. Fritz, in charge of the Goodrich Laboratories, followed by various demonstrations of the uses of Latex, a synthetic rubber derivative. Mr. John Collier, president of Goodrich, also par- ticipated. * *

August 19, 1943. One of the most unusual of WRGB program experiments was a colored re- vival, complete and characteristic in every detail. Three colored churches -one from Albany and two from Schenectady-were collaborating on a camp- meeting on a nearby vacant lot. With very little coaxing, they were induced to move the whole A.idres Ponzi, Former World Champion, Entertained Tele Audience for an Hour. 20 TELEVISER

www.americanradiohistory.com show bodily into the studio for an evening, audi- ence and all. Their customary spontaneity was affected little, if any, by the unfamiliar surround- ings.

August 26, 1943. On this date WRGB experi- mented with grand opera, with an hour presenta- tion of Tschaikovsky's "Pique Dame," sung in the original Russian by a professional troupe.

September 9, 1943. The J. Walter Thompson agency and the Reichel Laboratories collaborated with WRGB to bring the complete story on blood plasma, in three parts: (1) an actual blood dona- tion, for which a General Electric foreman volun- teered his services as blood donor; (2) an infor- mative talk and demonstration, in which as much as possible the atmosphere of the laboratory was reproduced; (3) a dramatization of an actual blood From Laboratory to Battlefield: Story of Blood Told for WRGB Audience transfusion on the battlefield. 7 * * * September 13, 1943. The first of two episodes of a new experiment was tried out -an attempt at a television equivalent of the daytime radio serial, using a mythical sponsor for the commercial an- nouncements. * * * October 7, 1943. Bridge by Television. On this occasion, two teams of famous bridge players were used, along with a highly able commentator, who

; :7t1'5*. worked back and forth from the bridge table to a board on which were posted the various hands played. The players used outsized cards.

October 22, 1943. WRGB's own light opera company got under way at this time with conspicu- ous success. When plotted from the beginning for television, practically any work in this category, it is believed, can be adapted for television purposes. The Shrew Was Tamed. Shakespeare's Famous Work Presented by WRGB. * * October 28, 1943. The BBD&O Agency and the Remington Arms Company demonstrated how a commercial can be effectively tied in with a public service when, in their program, "Calling All Hunters," they not only plugged the Remington line of firearms, but gave much useful information to hunters, including certain precautions which should always be taken with loaded firearms. A replica of a hunting lodge provided an effective background for the indoor portion of the program. * * November 11, 1943. "The Taming of the Shrew," WRGB's second experiment with a full length Shakespeare play, proved as with "Twelfth Night," that so far as audience reaction was con- cerned, Shakespeare was out of the experimental class and now can be numbered with the television "naturals." Several good reasons are attributed: (1) plenty of long speeches and soliloquies, which

Nat'onal Book Week An'ropriately Celebrated with Children of All Lands. (Continued on page 54) TELEVISER 21

www.americanradiohistory.com Leslie Wood and Joe Julien in "The Favor," first television drama pro- duced by CBS station. WCBW.

other. The stage asset of being a "quick study" is definitely an advantage -for it need hardly be said that scripts in evi- dence have no place before a television camera. The radio actor has been trained to create a characterization by relying solely upon his voice. Television needs the voice, certainly, but only as it relates to a "whole" portrayal of posture, move- ment and mannerisms. There are many radio artists with long years of theatrical experience behind them who will wel- come this new medium for expressing their frustrated dramatic talents. The novice in radio who finds the field over- crowded and fairly tied up by "regulars" will also look anxiously toward television. Sources of Talent The theatre obviously is our best source of talent. Those performers who have CASTING FOR TELEVISION spent seasons with stock companies, toured the country with road shows and literally By FLORENCE GREENE brought up in the theatre have by far the Casting Director, CBS Television most desirable qualifications for television. Naturally, they will miss playing to a ANEW talent for television! Is there Walter O'Keefe, Jimmy Durante, Paul visible audience and must learn to visual- really a television technique which Draper, Frances Fuller, Wendy Barrie, ize their performance as being projected can be clearly established and is Hilda Simms, Elissa Landi, and many into the homes of families sitting before clearly recognizable? And if there is- others. The actor can borrow technique television sets. Here is the new approach what is it? Will it be radio or the movies from stage and screen to be used in tele- -an attitude of personalization-an in- or stage credits which will prove the vision up to a certain point; but from timacy impossible in the theatre. favored child on the lists of the television then on a new method and manner must Technically motion picture actors will casting director? Will "getting in on the be formulated. This new method and feel most at home before the cameras ground floor" prove a decided advantage manner can be acquired through the means and lights, although they will have to over those not yet emerging into the field of close observation of numerous televi- accustom themselves to accepting an in- but who are marking time until remunera- sion shows from the floor of the studio creased responsibility. Television facilities tion becomes more lucrative? These are and from the receiver, by partaking in are still much less elaborate today but a few of the many questions the many roles ranging from extra work to than motion pictures, and as in the early actors are asking relative to television. leads and deriving all benefits possible days of films, the television actor cannot There is, of course, no radical departure from good, sound direction. depend upon a large staff of technical from techniques already established for advisors and technical illusions for aid. Start Now! radio, the movies or the legitimate theatre. Unlike the movies, and closer to the There is, however, a very definite dif- -Getting in on the ground floor" will stage, television shows are rehearsed in ference of approach -a difference based definitely prove advantageous to the actor full from the very inception of produc- upon more or less of a merging of the in many respects. No matter how meagre tion, and rehearsals are conducted accord- techniques of projection necessary for the the part may be, the relatively small num- ing to script in chronological sequences. stage, screen or radio. The talent most ber of shows produced now means that Television actors have to do sustained sought after in television is a composite; the directorial staff can give a greater acting for long periods of time and re- however, many actors now successfully amount of time to assisting the actor, hearsals are the only means of correcting used in television possess credit in only than will be possible . when full time mistakes. Retakes are unknown in televi- one or two of these fields. operation exists. sion and once on the air an actor must Fundamentally, a good actor will re- The actor's technique of self -expression turn in a finished performance. main a good actor whatever the medium must differ from that used in other en- It is with these principles in mind that may be. For instance, CBS Television has tertainment fields. This is particularly the casting director goes forth into the successfully used such well -known stage, true of radio technique wherein an actor sea of television applicants to discover screen and radio personalities as Ralph can emote vigorously with a script in one those actors who have the most desirable Bellamy, James Monks, Betty Furness, hand and clutch a microphone with the experience. A year ago at CBS Television, 22 TELEVISER

www.americanradiohistory.com the time allotted for casting interviews The first step in casting is to refer to amounted to one afternoon a week. Now these cards by checking over the actor's -MOVIES that television is approaching its own right credits, noting the types of roles special- TELE in the entertainment field, there has been ized in and carefully studying his photo- a decided increase in such requests, -so graph. When decisions are reached as to much so, that every afternoon is now whether the actor "looks the part" and devoted to that task alone. Interviews has the required background, he is con- vary from fifteen minutes to an hour de- tacted to come in and read for the direc- pending upon the individual history. tor. Since we give no dramatic auditions Information as to name, address, at the present time, this reading is the phone number and background is placed first opportunity the actor has of actually on a file card to which is attached a showing us what he can do. For this photograph. The card is studied by the reason alone we depend a great deal on casting director and then included in a our detailed account of the actors back- master file. The photograph is particu- ground recorded on the card file. If the larly important as this is our only means actor's reading meets with the approval of of finding out just how photogenic the the director and he answers to the de- actor may be or if he seems to bear re- scription of the character called for, he semblance to the type of character we has at last set foot on the road to becom- want. ing a television actor.

TELEVISION "QUOTABLES ".. .

"There has never been a field of endeavor proposed by man that offers more or demands more from its patrons than does the creation and transmis- sion of electronic pictures. When we consider the split second integration of hundredsof circuits, the inter-functioning of optics, photo -electricity and the mechanics required in a television system, it becomes one of the wonders of modern science that this complex wave shape can be recreated into living picture and sound in our homes by the mere pushing of the right button."- CAPTAIN WILLIAM C. EDDY, U.S.N.R. * * "The Telechrome, latest invention of Britain's John L. Baird, eliminates the revolving disc and lenses previously necessary for color and stereoscopic television. The color and stereoscopic pictures now appear directly upon the screen of the cathode ray tube, so that color and stereovision can be received on apparatus as silent and efficient as reception on the pre -war black and white receivers. " -By F. J. CAMM, "Stereoscopic and Color Television in England." * * "Three basic television receivers have been developed which will be put into production as soon as materials and labor restrictions are lifted. One of the models, a table projection type receiver, will be priced to the consumer as low as $150. For television to be a success there must first be developed a receiver that will fit the pocketbook of the masses. In New York City, 100,000 to 150,000 receivers will be needed to support efficient commercial broadcasting stations. " -BENJAMIN ABRAMS, president, Emerson Radio and Phonograph Corporation. * "Through television a store does not show its merchandise in fiat print. It does not show its merchandise on a plaster cast dummy. It shows it in a vivacious living model. It illustrates it, it demonstrates its use, and all in a matter of seconds and to the accompaniment of persuasive oral selling. Each

window ... constantly changing, constantly alive with people and things .. . the merchandise of the entire store is paraded, demonstrated, exhibited and persuasively sold before the very eyes of the passerby. " -SAMUEL H. CUFF, General Manager, Station WABD, New York. TELE -MOVIES

TELEVISER 23

www.americanradiohistory.com with complete studio facilities, with CORWIN'S "UNTITLED" entire cast. May 24 -Four hours of camera re- hearsals, representing seven run- MAKES TELE DEBUT throughs, including a dress rehearsal. May 24, 8:30 P.M.- "Untitled," the (For Script, See Pages 58 -62) first televised version of a Corwin radio show, went on the air, after a ON May 24th, in conjunction with parts included that of the dead hero, total of eleven cantera hours of re- the 7th War Loan Drive, CBS Hank Peters, his mother, teacher, doctor, hearsal. Television presented one of its a newspaper editor, a music teacher, the most ambitious programs since the Grand young German soldier whose artillery vol- Crowded into this gigantic CBS pro- duction in a Central studios were re- opened fourteen ley killed Hank Peters, Hank's sweet- fleeting 30- minutes of air- months ago. It was Norman Corwin's heart, a nurse, Hank's army buddy, four time was a total of eighteen scenes (or sequences), which "Untitled," a monologue originally writ- socialites, a medical officer, Hank as a of three were entirely pictorial ten for radio. Aired twice previously by youngster, seven high school students, (involving the use of still pic- the Columbia Broadcasting System, the and a high school principal. Casting, tures, charts, drawings or film). televised version was produced and di- which began on May 11th, was completed Due to the complexity of the produc- tion, no rected by Ben Feiner. several days later by CBS's casting depart- single script could possibly show "Untitled's" television debut was the ment, headed by Miss Greene. all the cues. Separately cued scripts were therefore prepared for the director and result of an idea Feiner had regarding the More Than 250 Cues his control room assistants, script's value as a vehicle for television. the music and The director, Ben Feiner, his staff of sound floor It began when he first heard the show on director, and the directors. five directorial assistants on the floor and Because radio a year ago. He discussed it with "Untitled" was originally a in the control room, and a crew of twenty - monologue, its adaptation for television Worthington Miner, manager of televi- five stage hands and television techni- involved a considerable use of pictorial sion and was advised to wait, as the proj- cians, relied on more than 250 cues of all visualizations . . . putting into pictures ect was more ambitious than could be sorts -cues for cameras, lights, boom what were merely spoken words handled by the yet inexperienced and in the mikes, hidden mikes, actors, film, pic- radio script. This involved limited staff then on hand. When plans the use of tures, pictorial devices, music and sound seven pictorial devices for for the "7th War Loan" were being made, the projection effects. of the still pictures, including Feiner again broached the idea of doing the use of Previous to the first "readings" and the a large revolving drum, measuring ap- the "Untitled." Both Worthington Miner subsequent hours of rehearsal, all of the proximately six feet in diameter, and ap- and Gilbert Seldes, director of television preliminary details of production were proximately two feet wide, on which were programs, agreed. That was on April completed. The show's intricate scoring, mounted twenty black- and -white prints, 27th. involving dozens of music and sound cues, each 11 in. by 14 in. in size. As the off - was completed by May 16th. The re- "Untitled" Begins camera voice described the dead Peters, corded musical portions were then tran- what he was like, where he had lived, On May 3rd, Feiner telephoned Corwin scribed to master recordings, in the se- where he had traveled, the drum slowly in Hollywood and completed arrange- quence in which they were to be played. revolved so that the pictorial representa- ments for the televised version. The next By the week of May 16th, eight days tion of the words were accurately framed day copies of the mimeographed script before the broadcast, the designs for the by the camera. Other picture devices in- were obtained from the CBS Script De- show's two main sets, a sumptuous box cluded easels, picture flippers, and a partment at 485 Madison Avenue. With at the Metropolitan Opera, and a military balop. Thirty seconds of a film "clip" that began a long series of events that cemetery, whose backdrop of painted were also used to show a combat scene. led to the final broadcasting of "Un- crosses measured 24 ft. long and 18 ft. titled" on May 24th from CBS's gar- wide, were completed. Forty or more pic- Three Floor Managers gantuan sized television outlet, Station torial representations were also selected or Although CBS, as a regular practice, WCBW, in the Grand Central Terminal prepared by that date. uses two floor managers, it was found that Building, at 15 Vanderbilt Avenue, in From then on, the log reads as follows: a total of three would be needed for "Un- midtown Manhattan. May 16 -First readings. titled." These included an assistant floor First there was a series of conferences May 17 and 18- Rehearsal, "in bits manager, who checked each scene imme- with all members of CBS's technical, writ- and pieces," without studio facilities. diately prior to the action to make sure ing, research and music staffs, some of May 21 -Floor plans, previously work- that all actors and props were in place; these meetings taking place in Ben ed out on paper, tested to determine another assistant, who followed the script, Feiner's home. Sketches were made of their feasibility. Camera movements and was at each scene ready to cue actors floor plans and sets; camera movements timed; changes made in floor plans or a prop man for the next action; and were charted. Music and sound effects as required. finally a floor director, Paul Belanger, were decided upon. May 22- Technical rehearsal (three who cued two sound men plus one man Then began the job of casting. The. hours), with "stand -ins" walking on music, blending sound and music production called for a total of 27 parts, through the parts. when needed, or motioning for an in- to be played by twenty-two actors. The May 23 -First rehearsal (four hours), (Continued on page 28) 24 TELEVISER

www.americanradiohistory.com Motion- Picture Projector for Television Geared fo 30 Frames Per Second, at WRGB.

Educational and documentary films are not made primarily for theatrical distribu- tion, and it is in them that television should find the greatest single source for films. In most cases these films are made on a much smaller budget, and are re- leased for school, club, church and home consumption for a very small rental fee. Commercial films are distributed free of charge, and it might he mentioned that a commercial film is not necessarily packed with advertising. In fact, some of the best educational motion pictures available to- day have been made by the large com- panies in the manufacturing and food in- dustries. The O. W. I., the U. S. Office of Education, and the Office of Inter - American Affairs are constantly making educational films. Films on electricity in the home, care of teeth, care of children, farming, home economics, welding, auto- mobile repair, and every other conceivable FILMS FOR TELEVISION subject are available for a small rental fee. Whether or not this fee will remain By TED ESTABROOK small for television is difficult to forsee, but as these films are made with the pur- WITH more and more applications and shorts made in Hollywood for the- pose of having as many people as possible for television licenses streaming atrical release, it seems most probable that see them, and not necessarily to make into the FCC in Washington, and they will not be available for television. thousands of dollars, it seems likely that with the time for actual station construc- Hollywood is in the business of making the prices will remain reasonably low. tion drawing even nearer, prospective films to make money, and as television station owners and managers are begin- will be in direct competition with the Tele Releases NECESSARY ning to cast eyes about furtively for theatres, it is certain that the movie mak- their There is, however, one obstacle in the enough program material to keep their ers will not permit their motion pictures way of easy use of these films. Because stations on the air four or six hours a day. to be televised unless some drastic ar- many of them were made years ago, many many cities throughout the country, rangement is made. Even today it is quite In of the producers did not forsee the corn- television stations has al- a task getting 16 mm. feature film that is construction of ing of television and hence failed to ob- as soon as five years old. In fact, it is impossible to ready been contracted for, and tain television releases from the people material and labor permit, the work will rent them unless it can be proven that who appeared in the film. It is important begin. The less expensive stations will in- the showing is for shut -ins or service- to bear in mind that unless television re- live facilities for men. Theatrical distributors seem to feel clude one studio and leases have been obtained from each of that if you show their films in your own continuous film projection, so the burden the performers, the station manager opens home to three or four friends, you are of most of the programming will fall on the way for law suits by televising them. competing with their theatres, so they can motion pictures until networks become an Recently there have been one or two in- hardly he expected to provide films for actuality, and until the stations are stances of motion picture distributors try- television. equipped to handle the hours of casting, ing to sell or rent certain films for tele- set designing, rehearsals, and construc- However, in the case of foreign -made vision. They assured the prospective buyer tion that are necessary for live programs. features the case is somewhat different. that it was all right to televise them, but The problem is: where will all these As the gross return for these films is quickly dropped the matter when the comparatively small in this (with buyer insisted on seeing the television millions of feet of film come from? country a few exceptions) they are exhibited only releases from all those appearing in the Three Main Sources in the larger cities. Thus by recording pictures. these films in English, and distributing Finally, one very large and as yet un- There are three general types of film them for television to the smaller cities, tapped source for film is the amateur that may be used: feature films, short the added income could be quite consider- cinemaddict. All over the country there amusement films, and educational or doc- able, and there would be no competition are hundreds of amateur motion picture umentary films. In the case of the features with the local theatres. clubs and amateur filmsters who have TELEVISER 25

www.americanradiohistory.com made a surprising amount of very good footage. Although most of it is 16 mm. TEACHING TELEVISION silent film, for a small cost this footage can be converted into acceptable television By SAMUEL H. CUFF films. The possibilities in this field are so great that a large New York distribu- General Manager, DuMont-WABD tor has announced a contest to procure the best amateur films for television. All contestants who submit films for the con- E HAVE just concluded an inter-inter - in complete programs with charts indicat- test must release the television rights. As esting experiment. ing camera action for each portion of the the prizes total ten thousand dollars, this W Twenty-five students, all well show. It was particularly rewarding. particular distributor evidently feels that grounded in theatre and motion picture there's a great deal of valuable talent to work, enrolled in the New York Uni- Realism in Television be found in the amateur cinematographer. versity course on television techniques We found it advisable to keep the He is quite right! At the present time, which I recently conducted under Pro- course down to earth and to make every however, there is no central distributing fessor Robert Gessner of N.Y.U.'s De- participant constantly aware of the im- center for these films and it would be partment of Motion Pictures. portance of starting in a modest position quite an arduous task for an individual It was interesting to note the gradual and working up to secure real, valid station manager to procure them from all change that came over the class as its con- knowledge. Every student completing the over the country. Nevertheless, there is, ception of television slowly was modified course was strongly aware that even should in nearly all the larger cities, a local from a wide -eyed, vague impression of a he become a director, his knowledge of Amateur Cinema League, and there are glamorous medium a to solid, well the medium would materially augment. over 250 movie camera clubs with an en- grounded understanding of a technicality- his progress. rollment over ten of thousand from coast laden means of artistic expression. The series of lessons opened February to coast. These clubs hold screenings, from At first they all wanted to be junior 19th, with an introduction to television time to time, of work done by the local Cecil B. DeMilles a in week. Everyone and a tour of the studio. Next came dis- filmsters, and it might be wise for a pro- wanted to be a director. Few grasped the cussions on television in general, its char- spective television manager to contact the patent truth that there are comparatively acteristics, functions of coaxial cables and president of the local camera club and few directorial jobs in relationship to the the prospects of television relay systems. arrange to see the work done. being many other functions to be performed in There were practical demonstrations in the television studio. handling cameras, lights and microphones Libraries of Films This course differed from the many and sessions devoted to staging and sets, The easiest solution to the problem, others being offered in universities handling of various colors, art work and then, seems to be in the many large dis- throughout the country in that it was a backgrounds. The work in make -up and tributors of non -theatrical educational, course in studio operation with the em- costuming seemed particularly interesting commercial and documentary films. There phasis on full understanding of the me- to the preponderance of the students. are such distributors in all the major chanics and controls of the medium rather More difficult was work with video effects, cities. Public libraries are beginning to than on script and acting. At first we were properties, miniature sets and credit cards. take an interest in films, and already fearful of this approach since the students We found the charting of camera action there are a great number of libraries found difficulty in comprehending the during the course of productions to be where one can go as easily as one takes whole idea of television operation. They especially valuable in making for strong, out a book, can take out films for local turned in three papers. The first, after the well integrated television productions. showings in the neighborhood. These li- initial three weeks, showed many miscon- The zenith of the course was reached braries will be glad to cooperate with the ceptions about television. The second, when the students learned what magic local television station as it is their job to four weeks later, however, showed a bet- could be effected in the control room. have as many people as possible see the ter knowledge of the problems and the They went over functions of production films. final paper at the end of the course assistance and became familiar with dis- Those who are interested in film sources showed a firm grasp of what makes tele- solves, fades, giving verbal camera direc- for television might do very well to pur- vision function. All classes were con- tions and integration of film clips with chase the film catalogue published by the ducted at DuMont station WABD. Fre- live studio programming. H. W. Wilson Co., which contains the quently they consisted only of a relatively The course served a valuable purpose titles of nearly all the educational and short lecture and opportunities to watch in addition to its training of students. It documentary films ever made and a list of actual pre- broadcast rehearsals in which pointed up the necessity for understanding over four hundred distributors from the functions of all crew members were and patience on the part of television ad- which they may be rented. demonstrated with the utmost practicality. ministration. The young people interested Sudents were given three points' credit in television today are eager, vigorous per- REMINDER... for the course. We began with twenty -five sonnel material which can, given proper students and wound up with twenty -three. guidance, afford a priceless contribution Renew Your Subscription to The girls showed fully as much aptitude as of enthusiasm and creativeness to the TELEVISER . . . Send Your Check or Money -Order Today! the men in handling the equipment. The medium destined to burgeon tremen- climax of the course came when all turned dously within the coming months. 26 TELEVISER

www.americanradiohistory.com Use of Sound in Television* By RICHARD T. HUBBELL

THE effect of a visual image on the speech microphone. As a result most mind is almost instantaneous, but sound effects of the radio type will be the effect of the spoken word is unnecessary, and the development of a delayed, since the literary meaning (the technique for television sound effects will appeal to reason) takes time to be com- have to begin just about where radio left prehended. When speech and visual action off. Artistically there will be many points are synchronized, the scene can be ab- of similarity with motion -picture sound sorbed in a flash by the eye, but a delay effects (which derived partly from radio) may be imposed on the visual action until though, of course, there is little technical all the words have been spoken and their similarity in methods of handling. meaning has been absorbed. The method of producing sound effects This may produce a conflict between in television is similar to that used in the aural and the visual appeal, one which regular radio broadcasting. The effects RICHARD T. HUBBELL was noticeable in early sound pictures and are created on the spot as the program Production Manager & Tele Consultant in early television. Sound pictures have progresses -using records or mechanical Station WLW, Crosley Corporation, largely overcome this conflict by learning gadgets. (In picture work sound effects Cincinnati. to blend the two appeals smoothly, by are "dubbed in" after the finished film developing a condensed method of han- has left the cutting room.) an office, a telephone operator answering dling film speech and a better technique a call to indicate a business office, or the for film music and sound effects Sound Effects playing of "Over There" to indicate a - war theme. coupled with pictures which tell most of When sound effects are used in legiti- Sound effects and background music the story (visualization as opposed to mate theatre, the audience can usually de- achieve results by establishing a illustration). Music and sound effects can tect the difference between recorded and continuity of thought, an affinity be almost as rapid in their effect on the "live" methods. These are the reasons: of the ideas of the main theme and its desired overtones. audience, because they appeal directly to (1) Because most sound -effect ampli- This is done by a suggestive use of sound our emotions and do not have to be fil- fiers and loud- speakers do not have "high - to force a mental association of ideas. tered through our sense of reason. For fidelity" quality, and the difference be- This power of suggestion is brought into this reason music and sound effects often tween natural and "canned" sounds be- play by aural symbolism, comparison displace speech in motion pictures during comes unmistakable. of likeness, and contrast. scenes with rapid action. (2) Because sound systems are not stereophonic or binaural. They are usually Aural Contrasts Types of Sound in Television monaural. Aural contrasts may be created in vari- In radio the function sound of effects In television as in pictures and radio ous ways, one of the simplest being a is to supply impressions of backgrounds, these problems are not present, because contrast of space between interior and scenery, properties, and various actions. the entire audio system is monaural, and exterior, a small room and a larg- room, Sound is also used to effect transitional so all sound is produced in the same way a four -walled room and a two -walled ter- passages. a few With easily recognized -without the binaural contrast one gets race, a large room full of people and sounds one can cover a situation which in the theatre. What one sees in television empty, a large, empty room and the in- would otherwise require a good deal of is not as wide -angle as what he sees in terior of a cathedral. talk by a narrator or a group of actors. the legitimate theatre, and there is no Then there are contrasts in quality be- It should also be noted that in radio blind need for stereophonic reproduction in tween a voice coming through a telephone practically all effects are of this simple, which the sound seems to move all around and a natural voice, the clink of coffee easily recognized type -a necessary limi- the screen. mugs and the tinkle of champagne glasses, tation, because if the sound effect is not Most of the sound effects used in mo- a knock on a thin door and one on a so completely familiar to the listener that tion pictures and the theatre have been massive, oak door. it instantaneously evokes a mental picture, illustrative and synchronized, i.e., the There are contrasts between small and it only causes confusion in his mind. sound of a motor to indicate an auto- large, thin and squat, empty and full, In television the video will show most mobile is arriving. The same is true of near and far, fast tempo sounds and slow, backgrounds, scenes, and properties, as radio, in which some effects have been between extremes such as laughter of play- well as most actions performed by the used until they have become clichés. An ing children and the scream of automo- actors. These actions, involving properties instance is the standard "night noises" bile tires on the pavement. These are all on the set, will make their own natural effect of chirping crickets. contrasts of volume, tonal quality, and noises which will be picked up by the Closely allied to this is the "symbolic" rhythm. The chapter is from Richard T. Hubbell's most sound effect, one which is so familiar that The opposite of contrasts is the com- recent book, "Television -Programming & Pro- duction," published by Murray -Hill Books Inc., a brief aural whiff produces a stereotyped parison of likeness; the snore of a sleep- New York City. A review of the book will be found ou page 59. reaction: a typewriter clicking to indicate ing person and the sawing of wood, the TELEVISER 27

www.americanradiohistory.com roll of a drum and the tread of marching is "carried- over" and used for the signal especially as effects become abstract. feet, the pulse beat of a person's heart arm, making clear the fact that the lever In the rush to get television started, in and the throb of an engine idling. controls the signal arm. This provides a the confusion of mental hazards built up continuity of effect which tells in a few about the handling of the video, most Principle of Association seconds what would take at least a minute television broadcasters made a mistake with words only. similar to one made by motion picture 1he next step tram here would be the The same trick is used again in a rail- producers at the beginning of sound pic- association of ideas: Hitler's voice and road station scene in which bags of mail tures. The latter were so overcome by the the screech of an old vulture. are being moved about. One sees the mail miracle of synchronized speech that they Sound and picture are often used in a carts rolling along and hears the sound forgot much of what they had learned contrapuntal relationship which can be of their heavy wheels rumbling over con- about basic film technique. They concen- illustrated by the familiar example of the crete. This sound effect is carried over for trated their attention on the microphone French film Pepe Le Moko, or its Ameri- possibly forty -five seconds, during which and turned out shows which were pretty can version, Algiers. In the scene in which period one sees a number of shots of the boor. the informer is killed by the other mem- handling of scenes which would bers of the gang, he bumps into an auto- mail- Video's Heritage be passed by an observer standing on the matic piano while backing away before Similarly in the early days of television moving mail cart. The sustained sound of his executioners. The bump sets the piano nearly all telecasters ignored what had rumbling wheels holds the sequence to- going, and it grinds out a ragtime tune as been learned about sound technique in gether. the murder is committed on the screen. radio and motion pictures. The audio Perhaps it should be pointed out that Sound effects may be used subjectively technique of most early television shows this sound effect was "dubbed in" after to show the inner feelings of a character, was on a par with 1922 radio or 1926 the scene was photographed. If the actual although this is usually done with music. sound pictures, which meant that even if sounds in the station had been recorded, Sound can be used to indicate unseen ac- the video part were first rate (which it would a welter of tion, to indicate a transition not only from one have heard only seldom was) the program still did not noises because fact that one scene to another but also from one confusing of the click. Many broadcasters have been de- a micro- thought to another and from one time to the monaural sound system of claring that the future of television pro- phone would be to distinguish another. It can provide an aural "curtain" unable gramming lies in motion pictures, because between various noises and to focus on or "blackout." Sound may be used to of the obvious ease with which a film can the desired sound. Therefore the sound establish time, place, and situation, and be run off, and they have failed to recog- the sound track the manner of its use may ruin a good director has simulated on nize the inherent audio -video possibilities only the noise wanted, the scene, bolster a weak one, and, of course, particular one of many of their own radio programs. sound which added meaning to the move- make a good scene better. While it will seldom be possible to trans- ment of the cart. The myriad other sounds The most elementary type of sound fer a radio program to television without present in the station were excluded since effect is a single synchronized sound any changes, a large proportion of stand- - they had no connection with the effect such as a knock when a hand is seen to ard radio programs can be adapted with- rap on the door. (The hand will usually the scene was to convey. out much trouble. make its own sound, picked up by the voice microphone, while in radio a sound - The Audio Heritage Corwin's effects man would do it.) By such discriminating and intelligent "UNTITLED" use of sound effects it is possible to pro- (Continued from page 24) Using Several Sounds duce (on a monaural system) the same crease in the sound of firing guns to Slightly more complex in point of psychological effect one would receive if almost deafening volume, or motioning quantity would be the synchronized use he were actually present at such a scene for the strains from Ravel's "Daphnis of several sounds at once: a boat going in real life. and Chloe" to be dropped to a whisper. through water and the sound of a motor, In the process of the "carry- over" a Inside the control room, an assistant, wind, and waves. straightforward sound effect becomes non - Fred Rickey, sat beside Ben Feiner, fol- More imaginative uses of synchronized synchronized -and by "nonsync" is meant lowed the script and cued him on en- sound include such technical tricks as a an effect which is not directly caused by trances and exits, and all movements re- "carry- over." In the classic British docu- some specific action seen in the video but quiring cameras, technical cues, warnings mentary film, Night Mail, there is a scene which is motivated by the inner meaning for use of easels, balops, film and me- in a railroad switchhouse. A man throws of a production. chanical devices. the levers of the switches in order that The potential uses of nonsynchronized That, in brief, is the story of "Un- the trains may pass by. Synchronized with sound are almost as numerous as those of titled," which in the opinion of the the action is a metallic clank as the switch nonsync speech, although less actual use TELEVISER editors was one of the most lever goes into place. It is repeated several has been made of it. It is next to impos- involved and complex television shows times, firmly establishing the rhythm. The sible to set down any principles for their yet undertaken by CBS, and possibly by last time the lever is thrown, the camera control, beyond citing example of previ- any other station. If it did not represent cuts to a shot of a signal arm by the track ous use. The successful use of nonsync perfection, it represented a big step in the jumping into position. The same metallic effects depends on the imaginative powers right direction in program planning and clank used for the throwing of the lever of the individual television programmer, production. 28 TELEVISER

www.americanradiohistory.com SOURCES FOR TELEVISION SCRIPTS

T IS commonly agreed among pro- ducers that the basis for any good tele- vision production is the "book," or script. Lacking a good script a director's chances of producing a "hit" show are very slim indeed -no matter how gifted the direction. Confronted by a hampering dearth of good television writers, today's producers often turn to new, untapped sources for script material-or do without dramatic productions in their programming efforts. The reason for the dearth of television writers is not hard to find. Many good potential television writers are in the armed forces. When they are released, television will have many new, gifted writers at its service as there can be little doubt that the glamour of the video art, and the satisfying remuneration television is certain to offer, will attract new writers in great numbers. At the present, however, television is

doing the best it can without the services Scene from "Shanghai Spider," produced by WOR's "Brownstone Theater" on WABD. of America's top writing talent. rather philosophically and to look else- plays and advise you who to contact for Can't Compete for Writers where. permission to produce the plays you have What of the established writers of One rich source is Samuel French, Inc., in mind. radio, motion pictures and the theatre? at 25 W. 45th Street, New York City, Greenberg, Publishers, at 400 Madison To compete with Broadway, Hollywood, who have a total of one thousand one -act Avenue, also in New York City, have and Radio Row, is hopelessly out of the plays in published form ready for pro- published eight volumes of one -act plays, question at present. To compete for such duction. Included are one -act plays by most of them for radio. When produced writers as William Saroyan or Russell such well known writers as Ben Hecht, for strictly non -commercial performances, Crouse, Preston Sturges or Milton Betty Smith, Noel Coward, John Hersey, there is no royalty charge. Otherwise, Holmes, Norman Corwin or Arch Oboler Percival Wilde, and many others. The there's a performance fee, which varies with the three major entertainment indus- plays range from comedy farces to intense from S10 to $25 and more, depending tries, television's exchequer will have to melodramas. For most plays the royalty upon the play. Greenberg, Publishers, be increased a hundred -fold. That it will, is S25 for non -commercial performances, will send you a catalogue of their plays when commercial television replaces the and S75 to $100 for commercial presenta- upon request, and will gladly quote rates haphazard semi -commercial program ex- tions. With a little rewriting, the plays on specific plays. perimentation of today, no one doubts. may be easily adapted for television. More Sources In the meantime, the best that tele- Several French -controlled one -act plays vision is able to offer writers for scripts have been used, for example, by the Tele- Other sources for one -act plays include: varies between $15 and $25 for non- vision Workshop, for a dramatic series at Walter H. Baker Company, Boston; Dra- commercial shows and $75 to $100 for WABD -Du Mont and the General Elec- matist Publishing Co., Chicago; and sponsored programs. The highest ever tric station, WGRB, Schenectady. Baker and Taylor, 55 Fifth Avenue, New paid for a script, to the knowledge of Dramatists Play Service, Inc., 6 E. 39th York City. Catalogues are also available this writer, was $150 -for a show which Street, New York City, is another source from these publishers. cost nearly $2,000 to produce. for one -act plays. Their list includes plays Another source is the public library. Due to these arid conditions, compara- by Ruth Gordon, Sidney Kingsley, Irwin Here one will find many volumes of pub- ble to the early days of motion pictures Shaw, Maxwell Anderson, Howard Lind- lished plays, many of them in the public and radio, few script writers find the in- say and Russell Crouse, Lillian Hellman domain or otherwise royalty free. An clination to devote their time and talents and others who are equally well known. hour's perusal of one -act plays will often to a medium which offers very little ex- Although the Dramatists Play Service be richly rewarding to a producer. Here cept rich experience. merely holds the rights only for amateur he can select and read the dramatic litera- Today's television producer has there- performances for the living theater, they'll ture of all countries, of all times, and fore learned to accept these conditions be glad to send you a catalogue of their often find just the play he wants. Last

TELEVISER 29

www.americanradiohistory.com summer, for example, Sanford Meisner, whether for radio, stage, motion pictures (3) Use as few players as possible, associate producer of the Television or television, is the free -lance writer. If never more than five. Workshop, which incidentally, specializes you're in the market for scripts, and word in dramatic productions, came across an gets around, you're sure to have many (4) Use only one set or locale; don't obscure volume of one -act plays trans- free -lance writers submitting scripts, some let your story ramble over half of lated from the French. The plays were of them quite good, some of them rather the United States. written around 1870 or 80. excellent. Among them you may find just One of the plays, "The Woman Who the script you're looking for, or the germ (5) Keep the writing "tight." It's dy- Was Acquitted," furnished an exciting of an idea for a script or a series. namic action, rapid plot develop- evening of psychological drama, and was One of the Television Workshop's staff ment that counts -not mere talk. one of the first psychological dramas pre- writers, David Kaplan, got his start in sented at Du Mont. It proved so success- television through free -lance writing. He (6) Keep your drama as visual as pos- ful the Television Workshop repeated the walked in one day with an armful of sible, making full use of the drama in a road tour performance at scripts, timidly submitted them to a Tele- cameras in interpreting your play. WRGB. The play also received very high vision Workshop producer, and almost praise from Variety (July 5, 1944). before he knew it, one of his comedies, (7) Limit the play to a half -hour. Any- Many other plays in the Television "Sentimental Snowstorm," was purchased thing longer may tire your audi- Workshop repertory were likewise adapted on the spot. Two weeks later it was pro- ence. from "one -acters," dusted off from the duced for the General Electric Station shelves of the New York Públic Library, WRGB, and for Du Mont's Station Remember and presented across the footlights of WABD in New York. the Rules! television. Remember: "The essence of good tele- So don't overlook your public library Gets Writing Assignment vision is "variety, movement, action." Re- as a possible source for play material! This same writer was then given the member: "Television is a visual medium, Another rich source for television assignment of writing "Private Johnson's one that depends 80% on the sense of scripts, dramatic and otherwise, may be Christmas," which later won warm praise visual perception and only 20% on audi- found in the files of most agency radio tory response." departments. Careful judgment, however, as an imaginative piece of television writ- Choose and adapt your scripts with must be exercised in selecting a radio ing. Through collaboration with the Tele- these rules in mind! script, making certain it has strong visual vision Workshop staff, intricate special A.S. appeal. Some radio scripts, no matter how effects involving a miniature battlefield -I. well they may be adapted, will not turn and an ethereal dream sequence were suc- a9111IIIIIIIIIIIIIIIINIIIIIIIIIIIIIIIIIIIIIIII!CFI!i""" out to be good television, as this medium ':""''!:!IiIIIIIIIIIIIUIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIL cessfully incorporated in the script. _. places major emphasis on situations that (You'll find a copy of the shooting script .... are strongly visual, eye -catching and eye - in the Winter Issue of TELEVISER.) appealing. The is emphasis not on talk, Still other sources are Little Theaters, TITLE - as with aural radio. experimental theaters, college drama and radio departments. Here an alert producer Adapted From Radio may find numerous scripts, some with a CARDS i A successful attempt at radio- play -con- freshness and vitality often lacking in version -to- television was made by the many professional scripts. One such script, FOR TELEVISION Television Workshop last August when which was submitted by John Graham, it televised the "Eighth Step," adapted director of New York's "Provincetown from a radio play by the same name for Players," a Greenwich Village experi- the radio director of the Donahue & Coe mental group, proved exceptionally good Advertising Company. (A detailed de- television. Entitled "Heredity," the play A COMPLETE art and ad- scription of this experiment may be found was produced by the Television Work- in the Fall, 1944, issue of TELEVISER.) shop in September, 1944, with much suc- visory staff, equipped to service The which a cess. Graduate students of the Yale Drama exterior scenes, included all your title card needs. Write Tennessee mountain and a stream with a School, New York University and Colum- dead man beside it, were accomplished bia University have also submitted scripts or phone for particulars. through the effective use of minatures. to television producers. Several other attempts have been made With minor changes and skillful adap- to adapt radio plays to television, which tation many a script written for the stage ACADEMY have proven fairly successful. A notable or radio may easily be used for television, DISPLAY SEItl -Il'E example of a radio script adapted to tele- by observing the following rules: vision was CBS's televised version of Nor- 136 W. BROADWAY (1) Keep the play simple; avoid plots man Corwin's "Untitled," presented on New York City that are too involved. May 24th. (For details, see page 24.) BArclay 7 -2287

Always a possible source for scripts, (2) Limit your action to a small area. AIIIIIiIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIh011111111111111111111111811111111111111111111 IIII1111111 30 TELEVISER

www.americanradiohistory.com radio producers standing by with time "29:30" OR BUST! pieces and a series of prepared signals for "spread," "wind -up" or "cut," we man- By HARVEY MARLOWE aged to hit 29:30 on the nose. Consultant Director, The Blue Network The timing of standard variety acts was simple enough, the only place we could "29:30!" A common expression in of old ones and given a new twist. The go over, or under,, was with the introduc- radio, it is practically unheard of in tele- same should and could apply to television. tions and extraneous patter. Careful con- vision at this stage. At best, it is given It seems to make a lot of sense that a trol of that portion of the program re- very little consideration. television producer with motion picture sulted in an exact timing. From then on My instructions, when I first came to background should automatically try to it was a matter of personal pride in being the Blue as Consultant Producer for the incorporate as many of the special effects able to accomplish what very few of the Television Department, were to train and and ideas motion pictures achieve. A tele- other television producers seemed to be develop television producers, directors and vision producer with radio background making any effort about. Of six "On announcers for postwar. As the best would invariably think of television in Stage" presentations, five finished on time. planned station would prove valueless un- terms of radio and how he can put his It Can Be Done less it could begin operations with ex- radio technique to good use. And, of Our television adaptation of "Quiz pertly trained and experienced personnel course, the television producer with theat- Kids" was a comparatively simple pro- immediately upon completion of the rical background will think in terms of gram as far as timing was concerned. Joe studio, the Blue Network's policy is a far- something alive and moving. Television Kelly had a stock of extra questions to sighted one. is all of these. The coordination and the make sure that the program would not Two top notch radio producers and successful adaptation of the best of all hit under 29:30. At exactly 27:30 the directors are assigned to each of my pro- these three mediums is your answer to question bell rang, which left us with a grams as observers, with producers select- good television programming. minute and a half for commercial and ed for their interest and their adaptability about 30 seconds for closing titles and to this new medium. A rotating system Split- Second Timing credits. Although a number of production was instituted to give all these men an Television can profit mostly from radio problems accompanies any unrehearsed opportunity to observe and learn tele- by incorporating a good many of the pro- show, there was none so far as timing vision. In time, these men will be given duction techniques pertaining to split - this particular show was concerned. the opportunity of handling a show en- second timing and scheduling. I ap- "Kiernan's Corner" and "Letter to tirely by themselves. proached my first "29:30" schedule with Your Service Man," both with a similar One extremely valuable contribution trepidation. I concocted all sorts of rea- format, proved a little more difficult than they made was their extreme awareness to sons why our first program, "On Stage the others in obtaining accurate timing "29:30" stop -watch timing, without which Everybody," should run a few minutes because of the varied elements of the radio programming would be chaos and over if necessary. However, Paul Mowrey (Continued on page 38) confusion. The public has come to accept was adamant and insisted that we start on Marlowe radio time breaks and signals to such an we Harvey Giving Directions Before time and go off on time. With two a Blue Network Show from Station WABD. extent that many people will set their time pieces, dates and appointments by them. What is so casually accepted today is the result of careful planning and effort. The need for such careful planning is obvious. In time television must operate similarly. But why wait?

Tele Must Adapt Techniques My first directorial chore for the Blue Network of the American Broadcasting Company, over WABD -Du Mont, was a television version of our regular radio program, "On Stage Everybody." I know many people in television loudly declaim that television is a completely different medium and should be treated as such. That television is a different medium from radio, I heartily agree, but it is my belief that television may profitably adapt cer- tain techniques of other media without apologies. Some of our best gag writers receive fabulous amounts for gags, which in most cases are nothing but adaptations

TELEVISER 3;

www.americanradiohistory.com Tomorrow 's television broadcasters are visiting Schenectady

1rf ADVERTISERS INDUSTRIALISTS WRGB ADVERTISING AGENCIES DEPARTMENT STORE PUBLISHERS MANAGEMENT

1 BROADCASTERS MOTION PICTURE EXECUTIVES SCHE®ADTM ,~

TATHE world's most powerful of the studio equipment necessary eludes television specialists and best equipped television for modern television broadcast- experienced in script writing, station, General Electric's WRGB ing, including workshops for costume and stage set designing, in Schenectady, future telecasters building props, workshops for lighting effects, camera opera- from all over the United States constructing experimental elec- tion, stage and technical direc- and from many foreign countries trical equipment, dressing rooms tion, equipment design, mainte- are acquiring a knowledge of the for actors, transmitting and re- nance, and operation. a Yual equipment needed for pro- ceivingequipment, studio control If you have not yet seen General ducing the finest of television pic- and monitoring equipment, film Electric television in action and tures. Here they are studying projectors. At WRGB you will are not yet making use of General station operation and manage- have an opportunity to analyze Electric's 20 years of television ment, promotion, programming, the elements of your future tele- experience, plan to visit WRGB and maintenance. vision station and to discuss at at Schenectady -now. Electronics WRGB is a complete television length your plans with G -E ex- Department, General Electric, broadcast station. It contains all perts - for the WRGB staff in- Schenectady 5, N. Y.

STUDIO AND STATION EQUIPMENT TRANSMITTERS GENERAL ELECTRIC

www.americanradiohistory.com WRGB houses complete program production facilities. Offices, studio, guest lounge, and projection room are on the first floor. The control room is on the second floor over- looking the studio. Script and programming offices, proper- ties workshop, and dressing rooms are in the basement.

PRODUCTION TECHNIQUE. At WRGB, AUDIENCE SURVEYS. WRGB checks audi- PLAN NOW to visit Schenectady to study programs are created, studied and ana- ence reaction and establishes a rating for G -E facilities. Every Wednesday and Friday response from the tele- are "open house" days. Write for the folder, lyzed. Every phase of show production is every show. The "How to get to Schenectady," or see your included- auditioning, casting, scene de- vision audience measures the success of G -E broadcast equipment representative. sign, script writing, rehearsing, make -up, WRGB's weekly features- reactions that He will be glad to help you plan your visit. and lighting. Programming records, rich provide abundant information which Electronics Department, - General Electric, in experience, are available for your study. G. E. is gladly sharing with tomorrow's Schenectady 5, N. Y. G. E. invites you to use them. television broadcasters. Establish a priority on delivery of your EQUIPMENT. BUSINESS ASPECTS. Television is destined television equipment. Write for your copy STUDIO AND TRANSMITTER Television Equipment Reserva- G. E. will have equipment for everything to become a great new industry that pro- of the "G -E in television -from cameras and micro- vides sales power unsurpassed by any tion Plan." phones to transmitting antennas and other advertising medium. Every adver- Hear the G -E radio programs: "The World home receivers. G. E. can supply you with tiser, manufacturer, and merchandiser is Today" news, Monday through Friday 6:45 complete lighting, heating, air- condition- a prospective time -buyer. Estimates put p. m., EWT, CBS. "The G -E All-Girl Orches- ing and substation installations. General the potential television audience at tra," Sunday top. m., EWT, NBC. "The G-E Electric is the only manufacturer who can 48,000,000 people- twenty -four months House Party," Monday through Friday, 4 p. m., offer this complete service. after equipment production begins. EWT, CBS

FM TELEVISION AM G / www.americanradiohistory.com SPECIAL EFFECTS By CAPT. WILLIAM C. EDDY, USNR

N BOTH television and motion pic- For these reasons television has turned checking by the program producer. tures the creation of realistic settings to miniature settings as a means of creat- Normally, where we have a choice, the is of paramount importance to the ing many scenes whose nature and size short focal length lenses are selected in dramatic impact of the story. In many forbid reproduction in the studio. spite of their limited depth of focus. The cases, however, scenes are written which Small scale sets have already been used wide angle characteristics of such a unit must be played against backgrounds too with excellent results both here and may sometimes rule against this selection unwieldy and too complex in their abroad. The potentialities inherent in this by requiring too wide a backing flat or original size to be usable. Confronted with field presage a heightened interest in this background for use in the studio. Employ- such a situation, the motion picture pro- type of shot that will, no doubt, increase ment of the longer focal length lenses ducer has the choice either of taking his the present usage beyond that which has with their narrow angle of coverage will cast out of the studio to film the scene already been accomplished in the pre -war correct this tendency to overshoot the on the proper location or of sending period. smaller set, but such a lens requires con- camera crews out to make the necessary Miniatures, belying their name, can be siderably more studio floor space in front film to be used in creating a process shot of any size, but we try to limit the gross of the miniature for the camera operation. in the studio. By using such film, or its area of the set to a minimum cross -section Proper Lens Is Important equivalent obtained from the studio film commensurate with good photography Because library, it is possible to project animated and the creation of the detail required by of the many contradictory scenery on the back wall of the set the story. This contradictory considera- problems that characterize each situation, it is futile to through a battery of backstage motion pic- tion which requires a large set to depict do more than caution the ture projectors. Against such scenery, detail and on the other hand stipulates effects man as to the importance of choosing the proper lens for job. many of our outstanding Hollywood epics that the set be small in order to fit in the the Once an intelligent have been staged with excellent realism. restricted floor spaces of the studio, may choice of lens has been made As yet television does not employ either be further aggravated by the ever -present and the camera availability has been of these alternatives. Unlike motion pic- lens situation which eventually dom- determined, the rough layout of set tures the television story cannot be inates all other factors in television. dimensions can be made. In charting the pieced together from a series of non- proposed camera movements and in all chronological scenes nor can it coun- Consider the Lens preliminary sketches, particular emphasis tenance the delays associated with moving should be given to the limitations in Unless a separate special effects camera the cast and equipment to location. depth of focus obtainable under the ex- is provided for this work, such lenses as The instanteity istent lens and lighting conditions which of reproduction of this are scheduled for use in the studio pro- new are to be used so that important details art requires that the material going duction must be considered first. The on the set will not be brought in to into a television story must be ready before shooting sequence should then be ar- the cameras at the time broadcast. destroy the desired effects. of ranged with the producer so that the Such conditions preclude the use of loca- selected lens and camera will be free for Miniature Harbor Shows Up Real and shots in Lifelike; Capt. William C. Eddy at left. tior building the average video miniature work in ample time for proper program. (NBC Photo.) No Process Shots At the present time there are no studios in this country designed to use back- ground projection pictures in lieu of scenery. This process, to be effective, re- quires long projection paths between the film machines and the screen, a stipula- tion further complicated by the high light levels used on a television stage and the resultant extremely high intensities re- quired to project a usable picture under the e conditions. Furthermore the discrepancy in frame frequency between the twenty -four frame per second speed used in motion pictures and the thirty frame per second speed used in television prohibit experimenta- tion with any existant equipment.

Published through special arrangements with PrenticeHall, publishers of Capt. Eddy's forth- coming book, Behind The Television Camera," which will make its appearance in the Fall. 34 TELEVISER

www.americanradiohistory.com The focal depths of most lenses used in miniature photography will not cover the entire set in sharp focus. It is there- fore necessary that the miniature be so constructed that the natural fore- shorten- ing from front to back will be built in the design to bring out the desired effect of reality. By computing the size of the field covered by the lens to be used, the effects man can determine the size and position of the backdrop or backing flat he need, to create either distance or dimension. Experience indicates that carelessness or lack of foresight in designing the backing flat, has been a major factor in lack of naturalness in most miniature photog- raphy. A stray shadow on what should represent limitless sky is seldom over- looked by the discerning audience, nor 4 does the life -size image of a technician hovering off stage contribute to the real- istic effect sought on the miniature stage. Even though an oversize backing flat may call for painstaking work and alertness Snow Machine Used by NBC for Winter Scenes. Is Hoisted Above the Cameras. on the part of the stage hands, it is some- Unless some movement is introduced material plus the persistance of the dust times essential to prevent overshooting into the miniature set, the results will be in still air will generally bring about the and the inclusion of backstage life in the only slightly more effective than those required results without recourse to slow picture. obtained from a two -dimensional drawing. motion photography. If it were not for the realism brought Slow Motion Film Proper Lighting Helps about by motion and the opportunity of In man} case;, however, extremely im- There are many instances where prop- choosing from a variety of camera angles, portant insert shots of this nature may erly conceived and executed shadows can a two -dimensional drawing could, and have to he first registered on slow motion be used to great advantage to augment should be substituted for the more com- film for introduction into the story. the realism of the setting. The same care plex miniature with far better results and Typical examples of where this film - is required in establishing such lighting infinitely less work. Motion, however, miniature technique would be used effec- effects for the miniature as for the larger tends to eliminate the impression of tively are the collapse of a bridge, the area. For this reason it would probably artificiality in a miniature setting and is, sinking of a ship, or similar super - be wise to use standard studio lighting therefore, worthy of considerable effort. animated incidents which cannot be equipment to build up the foundation A tree swaying in the wind or an artificial readily encountered outside the studio or lighting since the light levels should be cloud shadow is all that is required to effectively photographed on the set. Un- equal to, if not greater than, the levels efface the two -dimensional inanimate feel- der such conditions, the combined use of used on the set. These higher levels of ing. On the larger miniatures, trains and the scale miniature for locale shots, in- illumination that are easily obtainable on cars moving across country are well worth cluding a before and after coverage, a miniature stage permit the camera man the extra effort required in animation. together with a slow motion photographic to "stop down" the lens and thus effec- Decelerated Motion version of the actual event, can he worked tively increase the focal depth of the shot. It must be remembered that the rate out with satisfactory results. In brief, this Because of the short throw required, of movement in miniature must be care- would he the procedure: The miniature set specific lighting can then be satisfactorily fully planned and executed, so as to be in would first be used for the series of handled by much smaller units than would proportion to the scale used. Although we panoramic or locale shots with the film be required for such work on the televi- visualize the explosion of a shell or the sequence of the animated incident pre- sion stages. For this purpose, a handy unit collapsing of a bridge as an instantaneous viously photographed from the miniature consisting of a 500 -watt internal reflector occurence when seen in close -up, the same inserted in its appropriate spot. During lamp, mounted on a flexible arm at least event will resemble slow motion photog- this insertion process, the miniature can twenty-four inches long, is recommended. raphy when seen from a distance. To be quickly reset to correspond with the A selection of these lamps will suffice to achieve realism in miniature work it is after effects which have previously been create any required lighting effects with- necessary to decelerate movement by recorded and televised on the film. out cluttering up the studio floor and artificial means. A shell explosion can be Lengthy experimentation will determine obstructing effective photography of the made to appear natural by using a heavy, the proper speed of photography neces- set with the use of larger and more cum- finely- ground powder such as lacapodium, sary to record the event in normal decel- bersome light equipment. under low air pressure. The inertia of the eration. Methods of controlling the actual TELEVISER 35

www.americanradiohistory.com sequence of events on the miniature dur- being moved before the designated cam- audience. Under such conditions a detail ing photography are so varied that it era at the proper time. Where important set is employed to increase the natural- would be impossible to describe more detail is necessary to complete the story, ness of the sequence. than the suggested treatment of a single the producer will probably specify a detail In creating scale miniatures for use on situation. stage to handle the sequence so that he the Lilliputian stages, we are forced to Reduced scale stages should he set up can be assured of proper control as well design with an eye to both the photo- in a section of the studio inaccessible to as good photography. graphic quality and the economics of the air currents from the ventilating system or Quite often, it is preferable to use a production. Often the materials that go other sources, and where the movement of detail setting rather than work out the into such a setting must be thrown away studio personnel during the shooting will sometimes intricate problems concerned rather than salvaged after the perform- not create unwanted drafts. To disregard on the main set. This is particularly true ance, and in practically every instance this is to chance erratic and unnatural of close -up shots. While the average story these sets must be designed and con- reproduction of smoke, clouds, and other will be photographed through lenses structed in an extremely short time. It is, effects. Where such an isolated location whose focal depth does not require ex- therefore, necessary that the methods and is impractical, protective screens can be treme realism to be built into the backing materials employed will be generally placed around the miniature so that still sets, a close -up stage shot near a wall may available for immediate use and that sim- air conditions will prevail during the disclose the artificial perspective of the plicity of construction rule the effects shooting. scenic artist and thus disillusion the shop's technique. Perspective Considerafions In their efforts to approach realism, makers have found it preferable to use LANGUAGE OF TELEVISION natural color miniatures, rather than the (Consinued from Nye Spring Issue) monochromatic grey used on the full scale KINESCOPE: a type of cathode ray receiver tube developed by RCA. sets. By blending the proper types of dye LINE: a single line across a picture containing high lights, shadow, and and paint pigments, the desired half tones half tones, 525 lines make a complete picture. can be reproduced with normal camera LONG SHOT: an establishing a equipment. shot taken from distance sufficient to include a complete view of the scene. Realism cannot he obtained with the LIVE TALENT: participants in a program picked up directly in the studio, average lenses where the actual distance as distinguished from film presentations. from foreground to background is a MICROPHONE BOOM: adjustable crane suspending the microphone. matter of a few feet. MEDIUM SHOT: a shot taken from middle distance, or from knee level to In full scale photography, the back- above the head of the subject. ground has much less detail than the MOSAIC: photosensitive plate mounted in the iconoscope and orthicon. foreground. It is, therefore, incumbent on The picture is imaged upon it and scanned by the electron gun. the designer to build in an artificially ORTHICON: a new, more tapered detail to insure that both fore- sensitive television camera tube than the icono- scope and ground and horizon will not register with developed by RCA. PANNING: a equal distinctness. horizontal sweep of the camera. SCANNING: the action of the electron stream in exploring the mosaic Full Size Detail Stages in the camera tube or reproducing the elements of a picture on the In discussing effects and miniature stage fluorescent screen of the receiver tube. work, we must also consider the full size SHADING: reducing the undesired signals caused by the iconoscope in detail stage which is generally a duplica- the process of scanning. tion of some part of the main set being SIGNA: any form of intelligence transmitted by radio wave or wire televised. As an example we might sug- communication. gest the effect shot of a hand opening SPOT: the visible spot of light formed by the impact of the electron stream a wallsafe and extracting a gun. If the on the fluorescent screen of the receiver tube. wallsafe were located on the upstage wall SYNCHRONIZATION: the process of maintaining synchronism between of the main setting, it would he difficult the scanning motions of the electron streams in the camera tube and to get a camera into shooting position the cathode ray tube in the receiver. without interrupting the action on the TELECAST: a television broadcast. main stage. Such a sequence would dictate TELECINE TRANSMISSION: a program of motion pictures. the use of a detail full size stage. By this TELEVISION: the electrical transmission of a succession of images and method, the required photographic def- their reception in such a way as to give a substantially continuous repro- inition, as well as special lighting, can be duction of the object or scene before the eye of a distant observer. assured without crowding the acting area TILTING: a vertical sweep of the camera. itself. Ordinarily, such detail stages will TRUCKING SHOT: a shot taken as the camera on a moving dolly trans- be located in an off-stage position avail- mits a scene. able to the effects camera, although in TURKEY: (slang) : a program that is a flop or failure. some cases, it may be necessary to design VIDEO: (Latin: I see) : pertaining to transient visual image transmission. this setting as a mobile stage capable of 36 TELEVISER

www.americanradiohistory.com What "Man -in -the- Thinks of Tele Avenue: "Television. That's movies in Streets" the home. If they offer the same thing as (Continued fron, page 17) the movies, I'll be happy. It'll keep my wife home." Miss Alicia Farrell, 320 (Vest 76th Waitress in restaurant on West 57th Housewife, on Sixth Avenue near 38th Street, New York, Singer: "Television Street: "Just give me screen stars, com- S /reel: "I can't say that I'm crazy about will certainly bring the world into the mentators and a nice looking set to replace television. The children are radio crazy home. I would be satisfied with almost my old fashioned radio that won't work." now. I don't think I'd buy a set. How anything. I would like best, probably, Three bobby Boxers on line outside much will they cost ?" shows with action, musical comedies, op- Broadway notion picture theatre: "If Radio .tore owner on Barclay Street: erettas, ballets. I would not be too thrilled television will bring us stuff that is solid; "I'd like to see combination sets of radio, over talky dramas and the like. I should jive that jumps; with Frankie and Perry recorders and television at reasonable like a set which I would be proud to place Como, we are all for television." prices. About programs, if they come up in my living room. One not too obtrusive Teacher on upper Broadway: "Televi- to radio standards, I won't kick." or too evidently a television receiver." sion can be a great force for good. I hope Postman on 8th Avenue and 341h Mr. Ted Farrell, Chicago, Ill., Radio that some of the radio programs of educa- Street: "Relaxation is what I hope tele- Writer: "Who can say what to expect tional value will appear on television." vision will bring me. Good strong pictures from such an untried thing? In this ex- Attorney at 42nd Street and Broadu'a '. without flickering, with good acting. Also, perimental period, writers, producers and "I should like to see a television set that I'd like to see expert news commentators directors are feeling their way. I am con- is foolproof. Something that can easily and open forums." tent to leave it in their hands, feeling sure be tuned in which will bring me the best Dancer on IVes/ 34th Street: "I should welter ideas, we will that out of the of that the world has to offer in culture and like to see, housed in a handsome set, a have tech- good television entertainment entertainment." clear screening of all that is good in art. nically perfect receivers with large screen." Young shopper on (Vest 42nd Street: If it could he in color, so much the better." Other comments were as follows: "I should like to see daytime programs Bank Clerk on Lexington Ave. & 43rd Interior Decorator on Fifth Avenue: about the home and children. Not any Street: "I'd like championship fights, "I would expect television to lift the cul- dreadful serials. At night I hope they basketball games and all sport events. I tural level of the country. I should like give us plays of all types except horror wouldn't care much for plays or skits for programs offering both beauty and enter- stories." I don't think television will be as good as tainment." Department store sales clerk in 57th the movies." Social Worker on West 50th Sheet: Street: "I would be so thrilled to have Information Clerk in Grand Central "Television, I hope, will be a great force television in my home that I would be for social good. I hope that the men be- satisfied with anything. But not too much Station: "I think it's one of those postwar hind it remember this, and bring to youth advertising." promises like helicopters and such. I'll inspiring and right messages." Sanitation Dept. employee on 81h think about it when I see it!" Messenger Boy on West 40th Street: "I'd like to see all the baseball games and sport events there are. I can't afford them now, but if I could see them at home it would be swell." NYU Student on 34th Street: "I saw one show on a friend's set. They'll have to do better than that before anyone spends a lot of money buying a set." Furniture Salesman on Nest 31th Street: "Aside from good shows, I hope they give us a piece of equipment worth putting into the home and not something like the early radio sets." Unemployed mart on Lexington Ave.: "It will be a rather wonderful thing. A little theatre in every home. It will be a new industry. I would like to see sets economically produced and sold, offering the best in talent." Professional Model on Madison Ave.: "If television can bring, along with good entertainment, the teaching of wearing proper clothes in relation to background, it will be doing the women of America "TAKE A LETTER ": Bert Bacharsch and Dorothy Hart in show sponsored by John David's, a service." New York haberdashers. (Blue Network, via WABD- DuMont) TELEVISER 37

www.americanradiohistory.com (Continued from page 31) This, too, didn't appear to achieve the de- when the audience becomes more familiar show (variety, personality interviews, and sired response. The following show, hav- with television equipment, they will lose dramatic enactments). By working in ing several comedians on the program, I their reticence. Until then it is extremely close cooperation with the emcee and had Walter Herlihy take charge of the wise to have an announcer, or studio direc- some sacrificing of prepared extraneous introductions and had the comedians give tor, lead and control the applause in radio patter when necessary, these shows main- the audience a pre -show warmup. How- fashion. At least two minutes can be lost tained a schedule of 29:30. ever, to date, with the exception of the or found here, thus assuring a closer con- "Breakfast Club" show (where the au- trol over a 29:30 schedule. Possible on Unrehearsed Shows dience was in front of the cameras) this It would seem, after all is said and done, Our "V -E Day" program was an ex- curtain of lights, camera, mike booms, that a little sweat and plenty of thought cellent demonstration that even with an etc., has been too difficult to overcome is the answer to a 29:30 scheduled telecast unrehearsed program, controlled timing completely. However, I believe in time, and a well -constructed program. can be achieved. The program was sched- uled to run for at least two hours. Sta- tion WABD insisted on their station breaks every half hour. A little stretching or cutting on the part of the announcer Profile of Paul Porter materially aided us in getting as close to the half hour as was necessary. PAUL ALDERMANDT PORTER: operation, but the intense interest in "Breakfast Club," with Don McNeil, Born in Joplin, Missouri, October 6, 1904. future development is indicated by the was another example of an unrehearsed Studied at Kentucky Wesleyan College, fact that more than 100 license applica- show with controlled timing. I had a pre- 1923 -26. tions for new stations have already been arranged signal with Don McNeil to Started his career as a newspaper re- filed with the Federal Communications close the show with a community sing by porter. Then became City Editor of the Commission; this despite the fact that no the audience and company at 21/2- minutes Lexington (Kentucky) Herald while still new construction can be undertaken until before 29:30, which left us with exactly a student. He practised law in Central materials and manpower are again avail- enough time for closing titles and credits. Kentucky for two years, 1928 -29. In 1929 able." he re- entered journalism, and became "There will be obstacles," cautioned Tele Studio Warm -Up editor of the Mangum (Oklahoma) Daily Porter, "obstacles of a technical and an One other bit of radio technique which Nexus and then of the La Grange economic nature, which must be overcome I incorporated into this program, some- (Georgia) News, 1929 -32. Then he re- before television can be made available thing which I believe no other producer versed Horace Greeley's advice and came on the same widespread scale as sound has ever attempted, was a pre -show East! broadcasting." warmup of the announcer, who also stood Porter's government career began in "But," the Chairman pointed out, "the by to gear the audience for applause after 1932 when he came to Washington as manner in which obstacles have been each presentation. Radio production ex- Special Counsel for the Department of conquered one by one by the imagination perience has proven that a program played Agriculture. In 1937 he became Wash- and boldness of the sound broadcasting to a live audience has more spontaneity ington Counsel of CBS. In 1942 he re- industry gives us every hope that the same and general audience appeal. signed his CBS position to go back with qualities will win out in television. After many repeated attempts in warm- the Government, this time as Deputy "The creation of networks is the heart ing up an audience, I realized it was not Administrator in Charge of the New Rent the problem of how to expand televi- a simple matter. The terrific heat, the Division, Office of Price Administration. of sion into a nation -wide service." lights, cameras, equipment, mike booms, In July of 1943 he shifted over to the and all the crew and technicians running War Food Administration, where he was "In due time," he added, "thanks to around the studio with head sets is ap- Associate Administrator, and then Deputy this spirit of enterprise, television will parently enough to strike the fear of God Administrator. A life -long Democrat, grow into a giant capable of serving us in into any audience to the extent that a Porter left the WFA to become Publicity many ways which we do not now even laugh becomes a chuckle, a chuckle is no Director of the Democratic National Com- comprehend." Said the man who will more than a smile, and applause has to be mittee during the campaign of 1944. On head the FCC in the most formative years wrung from them. December 21, 1944, he assumed the of the video art, "television's illuminating In my first attempt to make the au- Chairmanship of the Federal Communica- light will go far, we hope, to drive out dience a part of the show itself I had the tions Commission under a recess appoint- the ghosts that haunt the dark corners of announcer speak to the audience before- ment of the late President Roosevelt, suc- our minds -ignorance, bigotry, fear. It hand, encouraging them to applaud and ceeding James Lawrence Fly who resigned will be able to inform, educate and enter- laugh if they felt like it and generally to return to his law practice. tain an entire nation with a magical spec enjoy themselves during the show. This On the subject of postwar television, and vividness." first formula was not completely success- Chairman Porter said at the recent dedi- "Television," Porter predicted, "can ful. They still appeared to be afraid to cation of the Philco television relay be- hasten the process of reconstruction. It respond in any demonstrative fashion. On tween Washington and Philadelphia, "We can be democracy's greatest handmaiden the second attempt I followed the same look forward to a great new force in by bringing the whole picture of our formula, only this time I had the members democracy-television! There are today political, social, economic and cultural life of the cast introduced to the audience. only six commercial television stations in to the eyes as well as the ears." 38 TELEVISER

www.americanradiohistory.com 2: OPERATION AND MANAGEMENT

E. W. Engstrom, Research Director of RCA Laboratories, Princeton, New Jersey

active work had been in progress to de- velop a small tube giving a very bright picture which could be projected through a suitable lens system on to a large view- ing screen. These projection Kinescopes were based on the same principles as the direct-viewing tubes, but employed higher voltages, delivering beams of much greater power to the fluorescent screen. The screens, of course, had to be processed in such a way as to be stable under these operating conditions. By 1937 it was pos- sible to demonstrate, on an 8 x 10 -foot screen, a projected picture which could be viewed without undue fatigue in a well darkened room, although the picture brightness was not all that might be desired.

Schmidt Optical System Used The next big step forward was the A Researcher Views Television substitution, in place of the conventional lens, of an optical system adapted from By E. W. ENGSTROM that used by Schmidt for astronomical Research Director RCA Laboratories, Princeton, N. I. purposes. Essentially, this system con- PRIOR to the war, television had tion in the period immediately preceding sists of a spherical mirror which collects .rossed the threshold leading out of Pearl Harbor. the light from the projection Kinescope, the research laboratory. Television Pre -war television receivers provided and passes it through an aspherical lens was then a practical reality with promise of an image which was viewed directly on element on to a viewing screen. The becoming a significant factor in American the end of the Kinescope or cathode -ray aperture of the mirror is located at the life. As a result of the initial efforts to tube, or, in some receivers, the tube image center of curvature and the aspherical lens provide a regular program service, the was reflected in a plane mirror for more element is placed at the aperture to cor- participating public seemed anxious to see convenient viewing. In all cases, how- rect the aberrations of the system. Such television service continue and expand. ever, the size of the tube imposed a an optical system makes possible many Television was ready -but the war inter- practical limitation to the size of the times more efficient utilization of the light vened. picture that could be obtained. A typical from the Kinescope and brings projection We are now at the stage where plans are home receiver employed a twelve-inch television well into the realm of the being made effective for post -war services. Kinescope, which gave a fairly satisfactory practical. Television is a new service of major im- picture size but made it necessary for the One of the basic problems solved dur- portance and should receive favorable audience to sit quite close to the set if ing the research on this optical system was attention and consideration. Progress dur- they wished to see all the picture detail. that of economically manufacturing the ing the war has sharpened the tools used As a result of the experience with these aspherical correcting lenses. To grind in television. We know better how to pre -war receivers, in the areas then pro- these lenses was out of the question build electron tubes and circuits. We vided with television program service, from a cost standpoint, because of their know better how to handle the radio fre- there was evident a need for larger images peculiar shape. A method was therefore quencies used for television broadcasting. on the viewing screen in the home. En- evolved for molding them from one of We are more sure of the techniques which largement of the image in the direct - the clear transparent plastics. This made will provide satisfactory pictures in the viewing type of tube was considered im- the lenses a relatively inexpensive part of home. practical for general application since it the projection optical system. Post -war would require a tube of unusable propor- television receivers having screens large Pre -War Viewing Sets tions. Solution seemed possible through enough to be viewed with ease in a living To aid in visualizing the progress which some means of providing an image by room of average size are thus made com- has been made, let us review a few of the projection enlargement. mercially possible. problems which were under considera- For a number of years before the war, At the transmitting end of the pre -war

TELEVISER 39

www.americanradiohistory.com television system, program experience in- of these experiments, it was evident that interest to everyone concerned in any way dicated definite interest on the part of television relaying should be carried out with this new medium for disseminating viewers for seeing events as they hap- at higher frequencies. By 1939, pro- entertainment and information. Continued pened. Often this called for using televi- gressive developments of tubes and equip- developments and improvements in tele- sion cameras under conditions of relatively ment permitted the establishment of an vision are inevitable. Some of the princi- poor light conditions. Many events and experimental ultra -high- frequency radio ples required for these new developments happenings could not be televised because relay station at Hauppauge, Long Island. are already known, some remain to be dis- the usual light levels were too low. This This station was of the unattended type covered. Further work on Kinescopes, called for major increases in sensitivity and was used for a number of experi- particularly of the projection type, will of the Iconoscope or camera tube. Re- ments in relaying television signals be- make possible larger, brighter pictures. search on this had progressed to the tween points on Long Island and New The continued investigation of circuit point where substantial sensitivity gains York City. problems, of the requirements for picture were in sight when war called a halt to Research work was continued in this definition and of most agreeable contrast television work. The progress made gives field until the advent of the war. As a relations will make it possible to improve promise of a solution to this important result, it was possible to accumulate the greatly the quality of the picture within phase of television broadcasting. The necessary experience upon which to base the limits of the present television trans- flexibility in programming which such an the development of a post war radio relay mission standards. All this will take time advance will permit is naturally of great system for interconnecting television sta- and effort, but improvement is certain. importance. To be able to televise all tions. scenes which may be seen directly will Of course, a nation -wide network can- World -Wide Service add immeasurably to the immediacy and not spring up over night, but must grow In the field of television network expan- spontaneity of television programs. in an orderly, logical fashion. This calls sion, it seems logical to expect the trans- for planning in order to provide a logical mission of vision to follow in the foot- Network Television and economical system of regional net- steps of sound broadcasting. Thus after Compared to the broadcast receiver of works to interconnect groups of stations linking up the major cities in this country, sound only, the pre -war television set was in the highly populated sections of the the next step would be international radio an expensive item. In the first place it was country, as well as connecting links to relay stations to provide world -wide tele- really two receivers-one for sound broad- join these into a nation -wide system. vision service. While the techniques for casting and one for television -and the Preparations are now under way looking this are not yet developed, it is logical to television unit involved an expensive toward the establishment of such systems expect research to be productive along viewing tube. These factors were further and it appears likely that the final net- these lines when the need arises. aggravated by the original low quantity works will consist of a combination of Television will meet a pressing need for production. With the improvements that radio relays and coaxial cables. In this post -war employment in an unusually have been made in circuits and the design way, pictures of events and programs can wide range of arts, trades and professions. of circuit parts, and with mass produc- be flashed from distant points to be broad- It will provide many jobs in the radio tion quantities it is anticipated that post- cast to audiences in many cities at once, manufacturing plant, the radio service war television receivers can retail at prices after the fashion of sound broadcasting. shop, and the broadcasting station and which will encourage rapid growth, re- studio. In the theatrical field, new per- sulting soon in a large television audience. Post -War Research formers and artists will be needed. In the If television and its auxiliary services These networks would be useful not broadcasting field, the quantity of new are to expand rapidly, thereby providing only in providing chain television pro- equipment, facilities and services needed a new American industry and a source of grams for the home, but also in supply- will be so great that a number of years large -scale employment after the war, we ing material such as important news and the work of many men will be re- must have the means to carry programs events and athletic contests for theatre quired to complete the initial expansion of from city-to -city over nation -wide dis- audiences. With the development of the television. tributing networks. For years, forward - projection Kinescope and the highly effi- Technically, television is ready to ad- looking research and invention have been cient reflective optical system we have the vance rapidly in the post -war period. directed toward making it possible to pro- basis for theatre television as a post -war Commercially, it will provide many sales vide these networks; the need to provide service. For the first time in the centuries of equipment and services as well as a them is almost upon us. Two lines of of theatre history, means are available for new and effective means for presenting to approach have been followed - one bringing to theatre audiences the thrills prospective customers the products of the through development of coaxial cables and drama of events as they occur, at a post -war world. Economically, it will pro- and repeaters; the other through develop- distance, in real life. Shortly before the vide additional employment in many ment of radio relays. outbreak of the war, RCA Laboratories fields, while in the home and theatre it Early work in the field of television demonstrated a picture twenty feet wide. will furnish a new medium of entertain- radio relaying led, in 1933, to the erection From experience gained with this equip- ment and education. The research engi- of a radio relay station at Arney's Mount ment, it will be possible to develop com- neer finds much satisfaction and com- in New Jersey. Using this relay point, mercial theatrç television apparatus for the pensation for his efforts in contemplation television signals were successfully relayed post -war period. of this bright horizon above which tele- from the Empire State Building in New The question of the future technical vision, like the morning sun, promises to York to Camden, New Jersey. As a result developments of television is one of great rise with ever brightening splendor. 40 TELEVISER

www.americanradiohistory.com follow the course of a speaker, say, as he TRAINING OF STUDIO changes from a seated to a standing posi- tion. The fourth swings the microphone in an arc so that it can shift back and forth PERSONNEL between two speakers seated on a couch and engaged in conversation. Operation of this equipment calls for By LOUIS A. SPOSA time, so that the technician can bring the a strong, sensitive touch and the ability to Manager, Program Service Department microphone to the exact distance from the fade out a voice carefully by swinging DuMont television station WABD subject required for a given sound effect. the mike away from a speaker or to use The microphone must be handled silently the microphone selectively to accentuate JOB in television! Somehow the me- and swiftly so that it never commits the the voice of one actor when several are dium is so glamorous and seductive cardinal sin of dipping into the range of supposed to be speaking at once. In that such a job seems the ambition the television camera. addition to the handling of this equip- of almost everybody who has ever seen a The microphone boom operates with ment, microphone technicians must learn televised picture. several types of controls. It is on wheels the names and uses of other types of Yet, there's a gruelling period of train- and a metal guard protects the side and is microphones which may be used in the ing necessary before newcomers are within a fraction of the inch of the floor, course of a program and they must be equipped to make a really worthwhile thus causing the moving base to push the proficient in the care of the sensitive contribution to television programs. They cables ahead of it rather than roll over microphone heads themselves. must learn the technical possibilities and the cables and crush them. The full stand- limitations of the field. They must master ard is moved to a strategic position from Next Step the that translates a program equipment which the microphone can be dipped into The next step in the camera crew's from a script to a broadcast. They must all sets required for a particular show; it heirarchy is camera dolly pusher. The me- work long, hard hours often doing is seldom shifted during the actual course pusher must be familiar with the speed at nial work. And they must be alert, con- of the broadcast. which the dolly is to be propelled to stantly, to the activities going on in the A second operation of the "mike boom" conform to the script's requirements and studio around them. is the shifting of the telescoping rods yet make it possible for the operator to in WABD were The technical experts from which the microphone is suspended, keep the camera in constant focus, and views consulted for their on the training forward or backward. A counterweight the picture in the range of his viewfinder. necessary for television. Here is the con - moves to the rear as the microphone is It is essential that the pusher be able to census of their opinions: projected forward. Strong airplane control execute a smooth forward and backward Working Knowledge cable protects this control against break- dolly so that the picture doesn't lose its age and stretching. A third lever elevates frame and bounce around the screen. It is well for people applying for work or lowers the microphone so that it can From camera pusher, the next step in television to have some background in radio, stage or motion picture work. They should have a working knowledge of these three forms of entertainment because television has many characteristics in com- mon with all of them. The new employee on our crews begins by working on the studio floor keeping the cables from tangling and assisting the studio manager and technicians in various small, routine jobs. While in this work, the neophyte observes the functions and responsibilities of every member of the camera crew. He learns to take instruc- tions through his earphones from the control room, to identify the equipment by name, to understand the particular phraseology of television operations and tools. After some time at this station in the camera crew, when the worker becomes familiar with station and program routine, he may be advanced to operation of the microphone boom. This position requires considerable training during off -the -air DuMont Employees Taking It Easy Between Shows: Seated is the Cameraman: Standing is periods, during rehearsals and between Du Monts Female Audio Engineer. (Photo by Victor Keppler.) TELEVISER 41

www.americanradiohistory.com upward in the crew is a very important tend to literally dozens of other jobs one-that is to the job of cameraman. necessary for a smooth production. Here a great deal of skill is required. It From studio manager, the next step is FACTS seldom takes less than months for an in the control room as Production Assist- ABOUT.. operator to attain high proficiency in cam- ant. Here all the months spent on the era operation. Many workers who lack a studio floor find their justification because natural flair for the job may well take it is imperative that the Production As- years in mastering it. sistant (termed in some stations "techni- The cameraman must know the type of cal director") understand every function lenses to use for the various shots re- of the people to whom he is giving direc- quired by the director. He must know tions. B to EV1SEF composition of pictures, depth of field, It is the Production Assistant's job JOURNAL 01 VIDEO PRODUCTION. ADVERTISING & OPERATION depth of focus and, most important, where switch either camera on the air at the cue Entered as 2nd Class Matter at the to focus. Maintenance and operation of from the director, also to assist the Direc- Post Office, N. Y., N. Y. the camera is a difficult, technical job. No tor in building the shows, getting the best adept cameraman leaves the lens of his possible shots with the camera, cueing in camera uncovered, lest a photographer in film clips, cueing cameraman, light men, Circulation *: the studio shoot a flash bulb off and mike man, studio manager, actors, per- 33% -Radio Station Execs. damage the mosaic on which the picture formers, and any other persons necessary 1 8%-Dept. Store Execs. pick -up is dependent or rays of the morn- to make a smooth production. The Pro- I.í %- Advertising Agencies ing sun enter the window and wreak duction Assistant must also teach new 9% -Radio Mftg. Companies similar harm. In order to confine this directors the art of television and camera -Film Companies, Theater article to practical length, it is necessary technique. 25% to touch upon the duties of the cameraman From Production Assistant the tech- Managers, Colleges, but superficially. nician progresses to Production Supervisor Libraries, Servicemen, From cameraman, the technician is who is stationed in Master Control and Editors, Publishers, advanced to studio manager. His job is whose duties consist of coordinating the and Foreign Circulation to integrate all the studio technical func- live studio with film, switching without tions, see that sets are changed, place spot dead air from one studio to another and lights in the most effective positions dur- any other duty necessary for smooth over- ing the program, cue performers and at- all operation on the air.

FARNSWORTH DIRECTORS CONSOLE Televiser JOURNAL 01 VIOLO PRODUCTION ADVERTISING &OPERATION Foreign Circulation: Australia Canada Cuba England Hawaii Mexico Puerto Rico

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Televiser JOURNAL 01 VIDEO PRODUCTION. ADVERTISING &OPERATION

11 W. 42nd St. N. Y. 18, N. .

This Compact Farnsworth Director's Console, Designed for Two Cameras, Requires Little Space 42 TELEVISER

www.americanradiohistory.com Main Auditorium of WGN's Tele -Radio Theater: Television Control Room Is Neatly Tucked Away Under Balcony, with Unobstructed View of Stage. WGN'S 5000.00 PRIZE-WINNING TELEVISION STUDIO DESIGN

WHAT will the radio -television large control booth for video broadcasting tween those on the elevators and those in studio of the future look like? equipped with many motion picture cam- dressing and make-up rooms on other What unique features will be in- eras and projectors. The placing of the floors. corporated in the post -war studios? Pos- television control booth under the balcony Leading from the stage will be a large sibilities were indicated recently when puts it in direct view of the stage and is scenery and property room, adjacent to the winners of the $10,000 WGN studio - so arranged that it can be enlarged should work shops, a paint shop, and the freight theatre design contest were announced. future changes warrant it. Back of the elevators extending along a frontage of Arthur Frederick Adams, celebrated de- television control booth, and on the same 252 feet. This lower level space will also signer of theatrical building projects, and level, will be exits and entrances for the be used for receiving and assembling ad- William F. Clark, engineer, both of Chi- balcony, which is placed directly above vertising displays, and for receiving cago, won first prize of $5,000 in the the television control room. On this floor, equipment and freight for the entire WGN competition for as the "most beauti- on the other, there will be lounges, building. ful and efficient radio -television studio." rest rooms, and foyers. The balcony will Plans for constructing the new building, be on the third floor level as will the Adjoining the upper part of the stage just south of the Tribune Tower, are al- music department, band rooms, make -up level will be a producer's studio which ready underway. rooms, and locker rooms. will have a clear view of the stage. Vari- ous other rooms for assistants and for Large Studios Stage 96 x 70 Ft. music libraries are incorporated in the The radio -television studio theatre will An outstanding feature of the audi- plans for this floor. The radio control consist of a large auditorium seating 2000 torium will be its large stage, measuring booth, together with a master control persons, and a smaller studio-theatre for 96 feet in width, and 70 feet in depth. room, will he on the right side of the 600 persons. A main lobby of impressive The full width of the stage will be visible building, while a large organ chamber proportions will make either theatre easily to the audience. Due to the vast area of will occupy the left side. accessible. The large auditorium will have the stage, portable equipment will be The contest for the proposed radio - a balcony seating 732 persons, with a used for easy maneuvering from one loca- television theatre drew entries from archi- main floor designed to seat 1283 radio tion to another. The stage floor will con- tects and designers throughout the United and television fans. tain five automatic floor doors to accom- States, Canada, and from members of the On the mezzanine will be theatrical modate five large compressed air lifts Armed Forces. Judges were Colonel Rob- dressing rooms, make -up rooms, rest which are built to rise from the lower ert R. McCormick, president of WGN, rooms for performers, a large room for level 22 feet below. These lifts will Inc.; Frank P. Schreiber, station man- the announcers, and rehearsal rooms. measure 25 x 13 feet, and they will also ager; and Henry Weber, WGN's director Clients' booths, which will be on this be used to convey theatrical groups, or- of music. John W. Park, production man- level, will have private entrances. On this chestras, and bands. One of the innova- ager of the Chicago Tribune, was profes- level, and under the balcony, will be the tions will be direct communication be- sional adviser to the jury of awards.

TELEVISER 43

www.americanradiohistory.com The 3,000,000 -cycle band produced COAXIAL CABLE What It satisfactory transmission of television images as far back as 1941 in tests made over an 800-mile coaxial line. Develop- ment work, which was under way when Is and Network Uses the war suspended work in this field, looks toward improved equipment cap- able of transmitting a band of seven mil- is What role It consists of a 13 copper wire sur- WHAT coaxial cable? -gauge lion or more cycles over coaxial cable. is to play in television, rounded by a cylindrical, copper shield it destined With this equipment, it would be possible particularly in inter -city network which also acts as a return conductor. The to transmit a 4,000,000 -cycle band for space between the wire and shield is in- operations? television, plus 480 telephone conversa- a coaxial system sulated. Through an extensive develop- Let's have look at the tions simultaneously over the same coaxial ment process, means were worked out to and see what it is: conductors. If television standards require One gets a fairly clear picture of the manufacture the coaxial units economi- it, a broader television band could be a mod- cally on a large scale. They were so de- coaxial system by comparing it to transmitted alone over the coaxial. ern superhighway with its several traffic signed that several could be grouped Amplifiers placed at intervals of about lanes. The smooth and wide vehicular together in one cable. Most of the coaxial five miles constitute an essential element artery would hardly he justified fully if cable now being manufactured contains of the coaxial cable system as now only passenger cars were allowed to use six or eight coaxials. Besides the coaxials equipped. These "repeater" stations it. It also accommodates trucks, buses, mo- themselves, the average cable has a num- would be about 3.5 miles apart for the tor freight vans and other types of traffic. ber of conventional type 19 -gauge pairs of seven million cycle system. Similarly, coaxial cable is a super com- wire to provide additional telephone cir- munications highway capable of transmit- cuits. The cables are usually buried by use ting very wide bands of frequencies. of plowtrains. Port of Communication Network These can be divided into separate chan- Width of the frequency band which A fundamental economic feature of the nels for long distance telephone con- can be transmitted over a coaxial conduc- coaxial cable system is that the cable is versations, teletypewriter messages, radio tor is a matter of designing its associated its own power transmission line. Power programs, television and other communi- equipment rather than in any inherent for the auxiliary amplifiers is provided cation services. limitation of the coaxial itself. The equip- over the cable from the larger repeater ment now in use can transmit a band up stations situated about 80 miles apart Coaxial Mileage to about 3,000,000 cycles. This permits along the coaxial routes. 480 telephone conversations to be handled The nation -wide coaxial lines will be- By the end of the year the Bell com- simultaneously on a pair of coaxials with- come an integral part of the Bell com- panies expect to have 2000 route miles of out mutual interference. On heavy traffic panies' extensive communication net- coaxial cable manufactured, and at least routes such performance constitutes the works. These now include 10 million three -fourths of this mileage in the most economical method now available miles of long distance telephone circuits ground. Fifteen hundred miles of coaxial for meeting long distance telephone re- terminating in 2,400 switching centers, cable in place would represent nearly one - quirements over a period of years. and 135,000 miles of program transmis- fourth of the System's five -year nation- sion circuits. A large part of the latter is wide coaxial construction program an- devoted to serving the four national radio nounced last year. networks, although a number of smaller The coaxial system represents the latest regional networks are also served. method of achieving multiplex telephone transmission by the use of "carrier" Long distance telephone and radio pro- principles. The conventional cable car- gram transmission services are furnished rier system permits 12 different telephone concurrently in the Bell System plant, be- conversations to be transmitted simul- ing handled in general by the same oper- taneously, but at different frequencies, ating forces. Television channels supplied over two pairs of wires -one pair for each by the telephone company, whether they direction of transmission. As the carrier are to be provided by coaxial or by radio development progressed, placing still relay systems, will be accorded the same more conversations on one pair meant treatment. using still higher frequencies. There were Bell engineers are moving ahead on limits beyond which engineers could not their New York - Boston trial of radio re- go economically with higher frequencies lay systems for multi -channel telephony, over pairs of regular wire in cable, so the television and other services employing logical thing was to design a conductor broad bands of frequencies. They look suitable for the transmission of very high forward to coaxial and radio relay systems frequencies. acting as supplements to each other in ex- The result was a very simple and classi- tending television networks to all parts cal form of conductor -the coaxial unit. of the country. 44 TELEVISER

www.americanradiohistory.com introduced which would make existing A CABLE FROM BRITAIN sets or transmitters obsolete within five years. The service ran for three years, so, By E. CHISHOLM THOMPSON allowing for the obvious moratorium created by the wartime close -down, this agreement still has two years to run. Moreover, the London transmitting sta- Well -known British journalist and world's first Attlee, Deputy Prime Minister and Lord television press officer. He was in charge of President of the Council, and soon the tion at Alexandra Palace has been kept in sound and virion broadcast publicity at Alex- country will hear experts review of a trim all through the war and is believed andra Palace until the outbreak of the war. number of formidable questions. to be capable of producing pictures on a For example, who is to pay for televi- closed circuit at 24 hours' notice. Many LONDON (By Cable): sion, and how? Should the British Broad- of the highly skilled original staff who THE rumbles of World War I had casting Corporation break down its 23- had had three years' practical experience scarcely died down when the new art year -old tradition by accepting com- in the intricacies of television production of broadcasting swept every continent mercially sponsored programs, or can tele- are anxious to return to the task which and gave the jaded peoples a fresh and vision be financed in any other way, such absorbed them in days of peace. unchartered medium of entertainment as by an increase in the annual two- dollar The trade also contends that the stand- which began as a craze and became an in- listening license? On the technical side, ard television receiver as sold before the stitution. should the service be resumed where it war will, with its slight modifications, be History is now repeating itself. This left off in 1939, with the same standards much more attractive from the price point time the new "toy" is television, with this of definition (405 lines, 50 frames a of view. The cost of the main component difference-that in Britain, as in the second, interlaced) or would a completely -the cathode ray tube-has been low- United States -the new medium is receiv- new start be preferable, with a vastly in- ered by more than half as a result of ing every serious attention. Television in creased definition and an enlargement of radar demands for mass production and, Britain had already worked through its the home receiver screen from the present consequently, receivers may be expected apprenticeship before this war began and, 10" by 9" ? to sell at little more than half the pre- by 1939, was an established medium of Take finance first. Britain's pre -war war figures, which struck an average entertainment with a record of three television service was helped out by finan- around $200. years' public service-even if its audience cial grants to the B.B.C. from the Treas- The establishment of a fairly compre- was somewhat restricted. ury, and while the actual apportionment hensive television service is looked upon of these funds between sound broadcast- No one doubts that when the 20,000 - as inevitable in Britain within a year of odd "dead" receiver screens in various ing and television was never divulged, Germany's defeat. Just before the close- homes in Britain do kindle into life again, television was known to be exceedingly down in 1939, plans were laid for an ex- television will spread like an epidemic. costly and, in staff alone, required three tension from the London area by means of On the consumer side everything is pro- or four times the number of people for relay stations in the Midlands and Scot- pitious. After five- and -a -half years of a every hour on the air compared with the land, linked by high- frequency cable with cramped wartime existence, with neither needs of sound. Equipment costs were at the transmitter at Alexandra Palace. The time nor money for much holiday- making least treble those of ordinary broadcasting. trade is now pressing for relay stations in or entertainment, the people are in the The present two- dollar listening fee all corners of the country, and one of their mood to be amused. could never pay for television, yet if, as strongest arguments is that it is the coun- seems probable, the B.B.C. retains con- tryman who needs television more than Governmental Interest trol of the Service, some additional form his cousin in the big city. Television in the home is the perfect of revenue will be imperative. A bigger answer, and for nearly a year Britain's license fee is of course a possibility but Programming Problems Government, broadcasting authorities and so far has been considered unlikely. The point was stressed as long ago as trade chiefs have been juggling with the To 1939 by Donald H. Munro, Production problems which stand in the way of its All Set Go! Manager of the B.B.C. Television Service, immediate fulfilment when the European The radio trade in Britain favors an during a pre -war visit to New York. war ends. the defeat immediate With of Germany resumption of television on "People with money," he said, "don't now in sight, public interest is focussed pre -war standards -though with improved want home entertainment; it's the pro- the findings, due in near on the future, picture quality as a result of wartime vincial people who are crying for tele- of the Television Committee appointed research and possibly through the prog- vision, but so far (1939) it has been out by the Government a year ago under the ress made in the allied science of radar. of their range; costs have been too high. Chairmanship of Lord Hankey. Instructed Existing receivers might need slight ad- Television has been concentrated in New to make recommendations on the national justment to cope with these improve- development of television, its panel in- ments, but the cost would be negligible York and London, two centers which put cludes scientific experts and representatives and might be borne by the set -makers. so much entertainment at the fingertips of the Post Office, the Treasury and the The trade is recalling the solemn pledge that the pictures in the air have keen British Broadcasting Corporation. Already made to purchasers of television sets back competition." its report has been handed to Clement in 1936: that no modifications would be If the B.B.C. gets its mandate to go TELEVISER 45

www.americanradiohistory.com ahead with television, what of the pro- Maybe this was why viewers were held receiving screen, men and women of vivid grams? The problem was acute enough spellbound even by a steady, unshifting personality and powers of oratory seemed in 1936, when the screens first flickered long -shot view of the solemn Armistice to come right into their homes and talk into life, but had already lost some of its Day ceremony at the Cenotaph in London. to them easily and directly. sting by early 1939, when the B.B.C. Halfway through the two- minute silence Greer Garson, of film fame, was one of launched its first television questionnaire. the unexpected happened; an over- these colorful speakers. She made her A cross- section of over 4,000 viewers an- wrought individual tried to rush into the television screen debut at Alexandra swered 13 comprehensive questions about Royal circle, and the television cameras, Palace and was seen in a number of dra- their likes and dislikes and many added holding the scene with an unwavering matic features before her departure for long supplementary comments of their gaze, made news history. the U.S.A. George Bernard Shaw faced own. It was this sense of immediacy that led the cameras for the world's first television First in preference in this analysis came the viewers to vote first for actuality tele- "curtain call" after one of his plays had "actualities" -plays and variety programs casts and will no doubt influence their been telecast. Tommy Handley, Britain's direct from theaters, and outside broad- choice after the war. popular radio entertainer of the famous casts of sporting and ceremonial events Next to immediacy, it was found that ITMA programs, started a new career as from the roaming television vans.. High television's best recommendation was its a television star. The list of televised up in the list came film newsreels, "Pic- intimacy. Viewers discovered that on the celebrities could be multiplied endlessly. ture Page" (a topical camera magazine giving quick -fire interviews with person- WARTIME OPERATING STAFF AT WRGB alities in the news), and full length plays from the studio. OPERATING with a skeleton crew Audio operator - mixing and at present, Station WRGB, in balancing of sound. Opera- Tele Sees the News Schenectady, expects to augment its tion of transcriptions, etc. 1 elcvision's tremendous actuality ap- present technical staff considerably after Shading operator - corrects for peal to national audiences was perhaps the war. At the present time, for example, deficiencies o f iconoscope. best described by Mrs. Grace Wyndham - the technical staff also doubles as main- Co- operates with person re- Goldie, one of Britain's regular television tenance men, a function which will be sponsible for lighting on the critics, in a B.B.C. broadcast to the United performed by a staff just for that purpose. studio floor to get best images States in the summer of 1944. "It's all The present operating staff, for the studio possible. happening at the moment when we see in Schenectady, and the transmitter in Projectionist- operation of 35 it," said Mrs. Goldie. "That makes a tele- the Helderbergs, is as follows: mm. and 16 mm. movie pro- cast events quite different from reading jectors as well as various of ENGINEER in charge of broadcasting; about them in the newspapers or seeing MANAGER of studio operations (tele- types of slide projectors. at Transmitter operators for them the movies afterwards. You get vision, am, fm.) -one the kind of suspense that you have when picture and one for sound to you watch things in real life. This means WRGB: Control roan, supervisor transmit program to main that you can go on watching ordinary Video switching operator - Helderberg transmitter. things in television -as you can in real makes the switch from one Microphone boom operator - life -for long periods without getting camera to another as pro- operates boom mike on studio bored." ducer calls "takes" floor.

HOWARD F. WORTHAM 515 MADISON AVENUE Phone: PLaza 3 -8480 New York 22, N. Y.

Financial Adviser - Budgeting Investment Counsel

Membership: Investment Counsel Assoc. of America

46 TELEVISER

www.americanradiohistory.com 3: ADVERTISING AND MERCHANDISING Survey Points to Increased Tele by N. Y. Ad Agencies

AN increasing amount of television activity on the part of the nation's advertising agencies is forecast in a survey completed by The TELEVISER. Indicative of the growing interest in television by advertising agencies is the recent announcement of Winslow H. Case, vice- president of Campbell -Ewald Co., Detroit, that his agency may soon establish a television production depart- ment; of Abbott Kimball's announce- ment of their establishing a west -coast

television department ; of Henri, Hurst & McDonald, Chicago advertising agency, launching a televised newscast series, despite lack of a ready sponsor; of the more than a score of advertising agencies Display Window's Models Come to Life During Telecast of "Backstage at Gimbel's" at WRGB in New York with television depart- Anderson, Davis & Platte: Has pre- A busy fall schedule is indicated, includ- ments, many of them actively engaged in sented almost a score of programs for its ing the opening of a branch office in production of programs for their clients. client, J. Alexander Smith Carpet Com- Los Angeles for West Coast department Active Agencies pany, produced by Bud Gamble. The store clientele. The New York agencies active in tele- agency reports it is preparing for an Buchanan & Company: With a series vision are: J. Walter Thompson; Comp- expansion of its television activities. of programs already under its belt for ton Advertising; Anderson, Davis & 1V. W. Ayer: Has televised for five Carter products, the agency plans pro- Platte; N. W. Ayer; Al Paul Lefton Co.; years, all home football games of the grams for additional clients, using new Abbott Kimball; Charles M. Storm; University of Pennsylvania via Station production techniques and program ideas. Buchanan Company; Newell -Emmett; WPTZ, Philco's Philadelphia station, for Newell-Emmett: Has produced show Ruthrauff & Ryan; Geyer, Cornell & its client, the Atlantic Refining Company. for the Kirkman division of Colgate - Newell; Norman D. Waters Advertising; Other shows, using live talent, are planned Palmolive -Peet; Fred Waring and his Kenyon & Eckhardt; Young and Rubicam. for several of their clients, using the Pennsylvanians for Chesterfield's; and a Reports from these agencies indicate facilities of Station WNBT, probably comedy drama for the Proctor Electric continued experimentation for an increas- starting sometime in the fall. Company. More shows are planned during ing number of clients, with a great in- the latter half of 1945. crease in television activity planned for Busy Fall Schedules Charles M. Storm Co.: With a record the fall. Al Paul Lefton: With television shows of more than 100 television shows, this J. JValter Thompson: 15-minute weekly for "No Mend" Hosiery, Loft Candy, agency places more shows for summer and telecasts for Pan -American Airways re- Rival Dog Food, and Pal Blades already fall. Its outstanding productions have cently launched on WNBT, and 'Break- chalked up, the agency plans other shows been "The Boys from Boise," for Esquire fast Club" for Swift & Co., over Station for fall for more of its clients. Shows Magazine; "Television Follies of 1944," WABD on May 25th in conjunction with are produced on an average of one every for Park & Tilford; and "Scheherezade." the Blue Network. Television shows for three months. Sustained television activity is also other clients are reported under way. Abbott Kimball: With accounts mainly planned by Ruthrauff and Ryan, one of Compton Advertising: Shows already in the fashion field, the agency has pro- the veteran agencies of television, whose produced for Ivory Soap, Duz, and So- duced shows for Dobbs, Knox and Har- long-term series for Lever Brothers is cony- Vacuum Oil Co., with time signals per's Bazaar. Their most recent show was already familiar to most TELEVISER televised for U. S. Time Corporation. the Gimbel Brothers "Assembly of readers, and Young & Rubicam, who have Future plans are being prepared, but no Fashions" broadcast on a network basis been doing a series for Cluett, Peabody new accounts will be placed in the near from WNBT in New York to WPTZ in Co., entitled "Fashions, Coming and future. Philadelphia and WRGB in Schenectady. Becoming." TELEVISER 47

www.americanradiohistory.com CHICAGO GOES COMMERCIAL Introducing . . .

At no time since the war has Chicago's comedy approaches, and variety acts, the main television outlet, Station WBKB, program attempts to sell the operation of been the object of as much television each department that is featured. Helen activity by commercial sponsors. Housed Carson, WBKB's program director, di- in a small office- building space at 180 N. rects the show written by Bill Vance. All State Street, shared with a Navy radar professional talent is employed. training unit, Station WBKB is even A third commercially sponsored slot is smaller than DuMont's "Studio A" of an educational program sponsored by Ad- Station WABD in New York. But despite miral Radio. To get as much publicity as its minute size, and the paucity of its possible for its program, and itself, Ad- listening audience, estimated at 400 set miral obtained the cooperation of the owners, Station WBKB now has three Board of Education's "Radio Research regular commercial advertisers: Common- Department," and held mass auditions for wealth Edison, a Chicago utility; Marshall high school students all over the city, Field & Co.; and Admiral Corporation. finally selecting the best of each group. A For more than a year Commonwealth high school student acts as emcee. The Edison has had a program, "Cooking by program, "Young Chicago" is broad- JIMMY DALEY the Dial," broadcast Wednesday after- cast every Friday night. noons at 3 o'clock. A videogenic Edison A regular non -commercial feature is a "The Attraction Man" Company employee, Kay Neumann, dem- U. S. Treasury Snow, which is televised onstrates recipes using an electric stove every Wednesday at 12:30 p.m. to re- and electric appliances that the Edison ceivers located in the Treasury Center on ttractions, Noveltie-. Co. has for sale, or plans to sell after the Adams Street, where large noontime Ideas for Television war. According to all reports, the program crowds swarm around the sets and buy has been very successful. war bonds. An average half -hour broad- cast nets the Treasury as much as $13,000. Typical Jim Daley Shop% Second Program The program features stage, screen and At WRGB, Scheneetach A second program, broadcast on alter- radio luminaries, a returned war veteran, nate Thursday nights, begun in April, is and a Navy dance band unit. Cruise of the Caribbean Sea also sponsored by Commonwealth Edison. A second public- service is a program, (Musical) A Dar at the Cirrus (Novelty) Entitled, "Welcome to the Walkers," the "The Recruiters," sponsored by the Navy Stranded (Mus. Var.) program employs professional talent. Department. The program, broadcast on Gay Nineties Ved -vil (Variety) Tuesday nights, features talent from the A Day in a Booking Office A third Edison sponsored program, (Variety) alternating with "Welcome to the Walk- nearby Great Lakes Naval Training Sta- Russian Opera (Opera) ers," is a quiz show. Entitled, "Tele- tion, and attempts to interest 17- year -olds Concert Varieties (Concert) Variety Night (Vaudeville) A former west - quizicalls," the show features calls to set in Navy radar training. Nile in Harlem (Musical) owners who are asked visual questions. coast radio star, now Chief Petty Officer Vaudeville of Today (Variety) Those who answer correctly may select a Charles Shapiro, acts as "emcee." Darktown Strutters Nite (Var.) choice electric appliance, making their WBKB's televised newscasts uses three g rote Bob Stone of WRGB: choice via television. If they answer in- regular news commentators, one for each "Sincere thanks for the way in which a pair tickets to night of telecasting. Among them are Joe correctly they receive of you have invariably come through for B. & K.'s Chicago Theatre, Chicago's Wilson of the Blue Network, Don Faust us, when something specific or unusual "Radio City Music Hall." The program, of WIND, and Gal Hix of WLS. Ann was needed. With the inside knowledge of television you have gained, you similar to John Reed King's "Thanks for Hunter, beautiful blonde political expert, should be of considerable help to th. Listening" broadcast by DuMont on just returned from the ETO, is also seen metropolitan studios both in advisor and booking capacities.' Wednesday evenings, is immensely popu- on the newscasts. lar with WBKB's audience. On the air three nights a week (Tues- Broadcast every other Wednesday after- day, Thursday and Friday), WBKB's test ATTRACTIONS, IDEAS AND PRODUCTIONS FOR TELEVISION noon is the "Marshall Field Matinee pattern and music starts at 7:15 p.m. The Show," sponsored by Marshall Field & regular programs then go on the air at Co., Chicago's leading department store. 7:30 p.m., and continue to 8:30 or 9 p.m. JIMMY DALEY Like R. H. Macy Co.'s weekly television Although WBKB is owned by Balaban & ATTRACTIONS program in New York, Marshall Field Katz, Chicago theater chain affiliated with & Co.'s "Matinee Show" features a dif- Paramount, no films are used in the sta- 1650 BROADWAY, N. Y. 19 ferent department of the country's third tions programming. All programs consist Clrcle 7 -6883 largest store. By means of dramatic skits, of live talent. 48 TELEVISER

www.americanradiohistory.com So much for the story line. In execu- tion, we found the show would require twelve scenes, seven stages and fifteen actors. Eight of the twelve scenes were to take no longer than one minute of air time each. All of this was to occur in WABD's bandbox Studio A, measuring some 18 feet by 18, and requiring ten DuMont technical people in the studio to run the show! Remember that Marx Brothers routine in the stateroom? That was sissy stuff compared to "The Care and Feeding of Whiskers"! Scripter Jack Creamer (r a d i o' s "Handy Man ") was therefore instructed to keep his action confined to the limits of medium shots and closeups. DuMont designer Bob Bright prepared stylized period backgrounds in the tongue -in- cheek mood of the program. Rather than line our stages with seven different sets in succession around the walls, we decided to use three basic stages. One of these was the modern bathroom set used-at the beginning and end of the program. On the other two all the period backgrounds VIDEO SELLS RAZOR BLADES were unit -set in such a way that the Du- Mont stage crew, after careful rehearsal, instead of By S. CARL MARK gram around the commercial, was able to strike one period background first and then tucking Radio and Television Director, creating the show and whip the next into place in less than Al Paul Lefton Company, lnc. in the commercials. 35 of the 60 seconds they had while the We therefore developed the idea of other camera was on the air on the oppo- ANYBODY want to buy a guillotine? presenting a history of shaving from the site stage. It stands about nine feet high, dawn of time down to today's white -tiled Prior to broadcast (pardon, telecast) is grey in color and it takes up one bathroom. The show would open with a we received some criticism on the ground whole corner of my office where it scares shot of Mr. 1945 greeting his woebegone that our production blueprint suffered the wits out of unsuspecting visitors. morning visage in the bathroom mirror. from two limitations; first, the non -use If an advertising agency office sounds After the initial shock of recognition, he of long shots, and second, the use of only like a weird place to keep a guillotine, would proceed through the ritual of depi- one camera to pick up each of several suc- you can blame it all on television. After lation, guided by an offstage narrator. cessive scenes of up to one minute's dura- every one of the video programs produced The first contact of blade to lathered tion. The result, we were told, would be by the Lefton Company, we have found cheek, however, results in anguish. Rea- a static, cramped production. Long shots ourselves with assorted props, drapes, son? Dull blade. were essential for wide -scope, fluid, varied costumes, furniture and diverse whatnots "Ah," philosophises our offstage nar- shooting; camera changes should occur no which had fulfilled their function, but rator, " 'twas thus from the dawn of his- less frequently than every twenty or thirty which we didn't have the heart to throw tory." There would follow a fast dissolve seconds to avoid monotony. away. to neolithic time, and a shot of Mr. Cave The guillotine is a relic of "The Care Man sawing at his foot -long beard with Watching Television vs. and Feeding of Whiskers," a fifteen min- a sharpened flint. In rapid succession we Watching Movie ute telepic over WABD, New York, would investigate shaving in Roman, The critics were wrong, and here's sponsored by the Pal Blade Company, medieval, Elizabethan, French Revolution why: two years of experimental video makers of Pal "Hollow Ground" Razor (the guillotine- remember ?) and Puri- production have taught us of the Lefton Blades. tan days. Then, back to Mr. 1945, still Company that there's a vast difference carving himself into hamburger sans red between looking at a full -size movie Planned Around "Commercial" points. The offstage narrator tells him screen and peering at a foot -wide tele- When Messrs. Otto E. and Edwin about Pal "Hollow Ground" Blades, vision image. Rapid camera changes make Kraus, of the Pal Blade Company decided hands him one, Mr. 1945 tries it, and his for eye- fatigue in short order, and no to explore the possibilities of video as an face becomes wreathed in a smile of lyric matter how intriguing your show, the advertising vehicle, we determined to find beatitude with the revelation that shaving looker -in will take just so much eye- strain out exactly how far we could go in build- can be smooth, clean and easy- on -the- before he gives up. Mind you, I'm not ing the entertainment portion of a pro - draw, the Pal Blade way. proposing whole shows picked up from TELEVISER 49

www.americanradiohistory.com one continuous camera angle. I do say long and long -shots in which distracting Actually, however, our work on the that television under today's conditions action is taking place, the viewer has Pal Blade telecast did not end when the limits the amount of camera- gingerbread difficulty in concentrating on the central show was over. It's true that the Pal Blade a producer can figure on to embellish his theme of the shot, with resultant dissatis- Company undertook this venture into show, and that he must restrain that im- faction. (As a corollary point, I'd like to television purely as an experiment, to see pulse to flop from camera to camera every mention that the entire stage portion of a where video would fit into our postwar few seconds. movie theatre surrounding the screen is advertising picture. Over and above this, There's another big difference between usually left stark and simple. Now think however, we feel that the use of experi- video and cinema and I don't recall hav- of the teleset in the average living room, mental television today can bring divi- ing heard it expressed before. In a movie with chairs, vases, bookends and other dends in the form of intelligent product theatre, the picture is spread before you geegaws which constantly intrude upon exploitation. on a vast expanse of screen. At no time the televiewer's side -vision). (unless you're sitting in the last rows of My further conclusion is that movies the second balcony) does your eye en- Tele's Hot News will play a vital part in television in the compass the entire screen. If two char- future, BUT rather than television Television today is hot news. Any ad- acters are talking, the eye follows first ... producers having to learn current movie vertiser who pioneers in television today one, then the other. The eye SELECTS techniques, the movie producers are going is also hot news. Therefore, coincident the PART of the picture it wishes to see, to have to revise drastically their tech- with the production of a video program then FOCUSES on that part, while the niques in line with what live video pro- for one of our advertisers, we set in mo- rest of the panorama fades into supple- ducers are now learning, before their tion the following: mentary position in side- vision. When product will be acceptable on home tele- We compile a complete list of all the Sunny Tufts kisses Lana Turner, your sets. possible publicity outlets which conceiv- vision is riveted a to point just south of ably would find news of our client's use Miss Turner's retrousse proboscis. Mr. of television of interest to their readers. Fast, Compact Show Tufts' hand on her shoulder is observed These may be summarized as follows: from the rim of your visual field, and the All of the above is by way of a long- (1) General circulation newspapers. rest of the picture is almost completely winded explanation of why the elimina- These include all the New York dailies out eye- of range. tion of long -shots from "The Care and as well as newspapers in each city where Video scanning, however, is entirely Feeding of Whiskers" was no great loss. the advertiser has factories or branches different. To view a picture on a twenty- We got a tight, fast -moving, compact or general distribution. Many of these inch one tube from the same relative po- show, which people seemed to like. The papers print regular merchandising sition as half- way -back a in movie theatre, entire show built gradually and grace- newspapers just to keep the trade in- you'd have to sit with your face about fully to the climax (the commercial for formed of business activities. three feet from the screen. Try it some Pal Blades) and proved to us that video (2) Radio, film, and television trade time. I have, and given up with my eyes holds tremendous promise for the adver- journals. Not only those organs spe- smarting five minutes. after I've studied tiser whose product can be used as the cializing in program production, but other people looking at telesets at home, springboard for the entertainment portion also technical trade papers are included and found that the majority of them of the program. on this list. prefer to sit from ten to twenty feet away.

STAGE I ETAGE 2 Must Revise Techniques The result is that they receive an over- all, . .., comprehensive impression of the WABD, N EW YORK 4.1; entire picture and are limited in their [NMAENT GAIN ROOM SET ability to single out isolated picture -ele- STUDIO A ments upon which to concentrate. WHY people prefer this method of televiewing STAGE PLAN FOR I don't know, and I'll leave it to the THE CARE& FEEDING OF WHI5KER5 CAVEMAN SET psychologists and eye- experts to figure SPONSORED MEDIEVAL SET BY PAL BLADES FRENCH out the answer. All I know is that they MAY I, 1945 ÓiOTTÓBE)ET DO do it. 9 The conclusions I draw are these: In ETI. >row " SET cinema, the director give NO,. NN ,ET can free rein to Cr. his set designers, cameramen, lighting and o other creative people to make every foot CONTROL n of his screen as rich and full as possible, ROOM secure in the knowledge that the viewer will select the pivotal elements upon which to concentrate. In video, the ; director must simplify and highlight. If m' he overdresses his set or stresses medium- 50 TELEVISER

www.americanradiohistory.com (3) Trade papers in the advertiser's Sells Friends on Television Meld. Any organ even remotely allied "Teletheater" to the advertiser's business finds its now in the hands be of personal interest to the individuals place on this list. Manufacturing as TELEVISION sets of owners may play an im- called. well as sales trade journals, jobber private in if the plan Most of the visitors have expressed in- journals, and others are earmarked to portant part television, O. H. Caldwell, editor terest and enthusiasm for television, and receive releases. Compilation of this originated by Dr. of radio and electronics magazines and have asked how long before they will be list is especially difficult and requires former Federal Radio Commissioner, is able to purchase tele sets for their own considerable research, chiefly because copied by other enthusiastic televiewers. homes, and how much such sets will cost many of these organs are of local and Dr. Caldwell, who lives in Cos Cob, a postwar. regional distribution all over the coun- section of Greenwich, Connecticut, has News programs with charts, newsreels, try, and are not listed by the services issued about 200 printed invitations to his studio plays and film features seem to supplying information about publica- Connecticut neighbors. attract most interest. Wrestling is reported tions. The invitation is in the form of a to rate higher than boxing. (4) Advertising trade publications. season pass to the "television theater" at Live Shows Impress These magazines and papers are anxious Walden Woods, which is the name of to be kept abreast of every use of tele- Dr. Caldwell's 50 -acre country place. The First -time viewers are much more im- vision by an advertiser, and if the television theater comprises a standard pressed by live programs than by films. treatment of the commercials is par- prewar 9" x 12" direct- viewing teleset For some reason, persons not familiar ticularly interesting, will give extensive located in the Walden Woods living room. with television, feel they are simply seeing editorial space to news and comment The other members of Dr. Caldwell's a home movie when a film is on. But when about the program. "theater staff" are his wife and mother - they realize they are actually watching and in -law. hearing a living person who is thirty miles (5) Newspapers a n d magazines Friends who receive the season passes away at that instant, their wonder grows which normally carry the client's ad- are informed that television shows may to the point of enthrallment. For that vertising. In some cases, these organs be seen every night at 8 p.m. and those reason, Dr. Caldwell urges that no tele- are able to use releases where their desiring to see television are asked to vision program consist only of films, but readers are acquainted with the product phone in advance to make sure that seats that at least one live studio feature be via regular advertising. will be available. included. In the case of the Pal telecast, releases Many visitors to the Walden Woods were sent to trade journals in the follow- Formal Tele Invitations "television theater" comment that they ing widely diversified fields: Such invitations are said to create in- have read what the detractors of television Retail and wholesale Tobacco terest in television on the part of recipients say about present video being poor in Drug Trade and their families and have resulted in quality, but that on seeing actual tele- Grocery more than a hundred visitors who have vision programs as received on a set thirty Chain Store thus gotten their first view of television miles from the transmitter, they are sur- Steel trade through this means. The printed invita- prised and impressed by the clarity and Hardware trade tions are, of course, supplemented by distinctness of the pictures. At any rate, Candy trade personal invitations and phone calls by they feel that present-day television is so re- good that they want sets in their own Releases were sent out about two weeks the Caldwell family, particularly with to homes at the earliest possible moment! prior to telecast, and continued right up spect to programs on subjects known to a few days before. During the last studio rehearsals, pictures of the per- Chicago Adv. Agency Inaugurates New Program formance and commercials were made out so they would break day - and sent Another new treatment of television Pictures used are from Acme News - with the show. Follow -up pieces and -date programming was initiated by David W. pictures, Inc. and the program was devel- were released after the telecast, with ad- Dole, in charge of television activities for oped with the co- operation of William ditional photos shot during the actual air Henri, Hurst & McDonald, Inc. and the Borglund, M.D., West Manager for performance. program, first of a planned series, was Acme. The photos are displayed in a Several weeks, even months, may presented over WBKB Chicago on Friday, small stage with the introduction, picture conclusion presented on a elapse before a complete scrapbook of the June 8th. changes and compiled. Some vertical curtain operated by a puppet resultant publicity can be The program is titled "Look at the of the journals are monthlies or bi- month- known as "Johnny Acme," which stands News" and runs about five minutes .. . lies with early closing dates, and consid- before the stage. The stage is placed on a the first one featuring a pictorial review erable time may pass before stories appear desk alongside the narrator who uses a Courtney Hicks in them. A clipping bureau is employed to of the life of General pointer in analysing war action on maps make sure that no possible stories may Hodges, Commander of the American and selecting items of interest in the have been overlooked, especially among First Army. It is designed to follow and photographs which include telephoto the regional trade papers in the far west tie up with a regular 10- minute news prints, Gil Hix was the narrator on the and south. broadcast. telecast June 8th. TELEVISER 51

www.americanradiohistory.com Modern Living Room As Designed Around DuMont's De Luxe Projection "Teleset"

may be considered exorbitant by the set purchaser. In that event the retailer will be held responsible for the extra costs by the irate consumer who will not consider the merits of any particular set or the reliability of any particular retail estab- lishment. This will necessitate a service department for the average dealer, or personal installation by the smaller seller. Secondly, it may be necessary in the beginning for the local retailer in many communities to cooperate with the tele- casting companies in the presentation of interesting and good programs which will excite watchers and listeners to the point where they become desirous of owning a set themselves. Unless there are good and SUFFICIENT programs to be received over the receiver just purchased, the con- sumer will soon regret having bought the set, and may either (1) return it for credit PROBLEMS & PROFITS FOR or refund, (2) discourage his friends, neighbors and family from buying. TELEVISION RETAILERS Local Programming Suggesfed By STANLEY KEMPNER This possibility v. as stressed by Ralph B. Austrian, executive vice -president of RKO Television Corp., formerly a merchan- TELEVISION people everywhere ceived in the fast sale of "demand" mer- diser with Gimbel Brothers, in a talk agree that a bonanza of profits chandise. given before the Television Press Club of awaits the smart retailer in the sale First of all, the seller will be respon- New York recently. To offset the even- of television receivers for home use. For sible for proper installation, which in- tuality of "bad" local programming or John Q. Public's interest in sight -'n -sound cludes erection of the antenna. (This lack of sufficient telecasts in a given corn - has been aroused to a new high which can alone, in most cases, will prove to be a munity where video sets were being of- only be satisfied fully with complete pos- major job, requiring the employment of fered for sale, Mr. Austrian suggested a session and ownership of a set in his own at least two service men, one of whom plan to build television circulation. Essen- home. Without doubt, there'll be more must be an expert on the quirks of tele- tially, he called on the receiver manufac- customers impatiently clamoring to buy vision installation.) For it is a known turers to share the burden with the re- television sets than will be available in fact that in certain areas, due to physical tailers in supplying localized programs to the first year or two after production is obstacles, such as tall buildings, bridges, dealers in specific areas throughout the once again under way. etc., television sets may not operate at all nation. The problem for the merchandiser, dis- or can only receive one or two stations Mr. Austrian pointed out that in the tributor, and dealer won't be in the selling within that particular location. In Chicago, early days of radio, when he was man- of the video receiver but in SATISFYING for example, certain sets, located in va- ager of the radio department at Gimbel's the customer AFTER the purchase has rious areas, require two antennae in order in New York, the local broadcasting sta- been made. to receive two stations in that city. Irre- tion supplied program service from 11 to For the sale of television receivers will spective of the quality or price of the set, 12 in the morning and from 4 to 5 in the be no over -the -counter transaction of certain sites will prove detrimental to afternoon. Thus, these were the only times quoting price, ringing up the register, and reception, ideal or otherwise. that he and his sales people could demon- wrapping up the set, or delivering it on a It will be up to the retailer to see that strate sets to consumers, and only when truck to the purchaser's home. the antenna is erected on a spot atop the he made arrangements with the stations No, the sale of a television receiver will consumer's home for best reception. Such to broadcast an extra hour or two of establish a new relationship between seller a task cannot be left in the hands of the program material could he and his people and buyer as no other merchandise before average serviceman, for the length of sell the sets of the various manufacturers. has ever done. The retailer will have as- time and effort required to find the "ideal" Such arrangements, naturally, cost his sumed a series of obligations far above location for the antenna may necessitate firm substantial sums of money, he indi- the "quick" profit returns apparently re- a labor charge by the serviceman which cated. 52 TELEVISER

www.americanradiohistory.com He suggested that in the future, film, It took courage, but finally the Allen New York, who made the Sears Roebuck especially prepared for retailers' use, be B. DuMont Laboratories dealt in the realm "Silvertone" radios prior to the war, con- utilized. He suggested that the manufac- of reality when recently at a demonstra- sumers indicated a willingness to pay turer supply the retailers free with the tion to the press, Leonard F. Cramer, additional amounts of money for tele- film or that the retailers share. the cost on executive vice- president, stated that his vision. The survey revealed that postwar a cooperative 50 -50 basis with the re- firm would start their home receiver line demand for new sets will be about 20,- ceiver set manufacturers. Such a plan, at $475 and run up to $1,500. Demon- 150,000 in the first year after they are undoubtedly, might be utilized by the re- strating a 20 -inch cathode ray tube which made available for civilian consumption. tailers and greatly aid in the sale of gave a picture, described as the clearest to This represents 65 per cent of the 36 television sets for home use. date, Mr. Cramer declared that a straight million families in the United States. Of The selling of video receivers requires television receiver without radio would the more than 20 million wanting new other new and unique merchandising pro- sell at a minimum of S475. Combinations, receivers, 49.5 per cent want television in motions, such as television theatres, or (trade -named "Telesets ") containing the their homes and are willing to pay extra specially equipped rooms (similar to the large tube for direct viewing, plus fre- for it. but quency modulation, standard broadcast phonograph record -listening booths, Spent 560,000 on a much vaster scale) where prospec- (AM) and phonograph equipment in a tive purchasers could watch a perform- handsome cabinet were cited from $1,250 The survey revealed that 3.2 per cent ance. Television parties might be held to 51,500. Projection units showing pic- are willing to pay $300 additional; 7.2 nightly or at specified hours during the tures on a 3' x 4' screen were priced at per cent will pay $200 additional; 20.4 day. $1,250. per cent will pay 5125; and 49.5 per cent receivers will no will pay $75. That means that at $300 Alert merchandisers might well take Such prices for good doubt be common. As in the case of the over the usual set cost, 1,000,000 sets can note of how a smart local retailer located or big- ticket items, a be sold; at $200 over the usual set cost in Jamaica, Long Island, New York City, automobiles other set will cost more than a mediocre 2,200,000 sets can be sold; at $125 over sold more television receivers than all his quality the usual set cost 6,100,000 sets can be competition combined. William B. Still, set. But it will be up to the retailer to edu- sold, and at $75 over the usual set cost, proprietor of a small shop, known as the to the facts about good and 15,000,000 sets can be sold. Jamaica Radio and Television Co., a keen cate the public mediocre receivers. For in the final-anal- Sylvania spent approximately $60,000 television enthusiast, installed a motion - customer is the best ad- to gather the statistics just given. But picture projector in the basement of his ysis, a satisfied any retailer; a dissatisfied they consider the money well spent. The store, and through the use of wires showed vertisement of make sure you don't information is important as a direction pictures on sample television receivers in- one ... well! Just post to future sales. It is just as impor- stalled in his window and on the selling have any tant to future owners of television sta- floor. He specialized in custom -built jobs, Market Survey tions, future producers, and prospective and inasmuch as he could demonstrate his Syl- manufacturers of television receivers. merchandise at will, was able to establish In a survey recently completed for which now owns Study those figures -statistics rarely himself as "the television store" in his vania Electric Products Buffalo, lie! area. When you consider that "Bill" Still the Colonial Radio Corp. of competed against at least two department stores and several larger radio shops, his merchandising job certainly was outstand- Televiser Display in Boston .. ing.

Price of Sets Last but not least, retailers must real- ize now that a good television receiver is going to be sold at a rather high price. Video sets are not going to be bargain merchandise and the sooner the dealers learn that price is going to be secondary to desire, the quicker they will sell more sets and make greater profits. There has been a great deal of talk about how much a television receiver will be sold for after the war. Most of the manufacturers have been talking of selling television sets for around $200; and Philco even mentioned a price as low as $125. But others kept insisting that a R. Boston Department Store, following Showings in Albany, New receiver would cost a good deal A Televisor Display at H. White's, good Haven, Providence, Washington, St. Paul and 20 Other Important Cities. Televiser's Traveling more. Window Displays Promote Public Interest in Television. TELEVISER 53

www.americanradiohistory.com WRGB PROGRAMMING nearly all its departments and dramatizing use of a variety of television techniques - them or otherwise presenting them visu- live action, motion picture film with voice - (Continued from page 21) ally. The paper was the New York over narration, mechanical devices (work- Herald -Tribune, and the various depart- ing model of first electric motor copied make it easier for the cameras; (2) less ments were handled as follows: from original at Smithsonian Institute), is required in the way of settings and NEWS: Maps shown on the screen, ac- mood pictures used in title sequence. The backgrounds than in more realistic mod- companying voice which represented vari- script, written by Larry Algeo for tele- ern plays; (3) the dramatis personae of a ous foreign correspondents. Later, Major vision production, as an institutional Shakespeare play is susceptible to infinite George Fielding Eliot in an authoritative commercial for G.E., had entertainment cutting, double- casting, etc., so long as map talk. production value. the leading characters are left reasonably BOOKS: An interview, in appropriate intact; (4) Shakespeare has definite edu- surroundings, with the Herald -Tribune Nov. 16, 1944. National Book Week cational value; and (5) he offers both a bookstore reporter. Program. A program built around the two challenge and an opportunity to the imagi- hundredth anniversary of the publication SHOPPING: Miss Esther Foley, market- native producer in such details as staging of the first children's book. A complicated ing expert of the Herald -Tribune staff, and musical scoring. production built around an original script buying or rejecting merchandise, as the written by Mrs. Dorothy McFadden, of case may be, at a fruit and vegetable stall. December 16, 1943. On four successive Junior Programs, Inc., especially for tele- SPORTS: A commentary on a racing film weeks, starting on this date, WRGB de- vision presentation making use of many by Stanley Woodward, sport editor, fol- voted an hour to: News, Art, Music and a television techniques, including motion lowed by a brief interview. Commercial. On each of the four pro- picture film shot on location for the show. grams they gave each of these program COMICS: A dramatization of "Penny," Live portion of the show included scenes types an entirely new presentation, with one of the comic strips in the Sunday in public library, historical one in John a view to finding out which was the most edition. Newberry's book shop (author of first effective way to show them on television. NEWS IN THE MAKING: A forum of children's book), and dramatization of Although audience reaction was incon- advanced high school students discussing "Jack and the Beanstalk." clusive, WRGB believes it pointed the current topics, with the special Sunday way to future experiments in "Television Feb. 25, 1945. "Ladies Be Seated." feature "News in the Making" as the basis Consumer Research," in an effort to find Outstandingly successful television show for the discussion. the pattern which the television program from the standpoint of audience reaction. of the future shall take. HUMAN INTEREST: A scene in Wal- It is a television version of the Blue Net- ly's Wagon, a regular homespun feature work radio show of the same name, fea- December 23, 1943. WRGB's chief ob- of the Herald Tribune Sunday Magazine, turing Johnny Olson. (Now has sponsor, servance of Christmas for 1943 was also "This Week." Chef Boy -Ar -Dee products.) An audience its first experiment in full -length opera, in which the given practically without cuts, the work participation type of show, Aug. 11, 1944. "The Woman Who being "Hansel and Gretel." WRGB feels audience was integrated into the picture, Was Acquitted," that opera, hardly less than light opera, a highly dramatic psy- with the MC and participants. Has caused has tremendous possibilities in television, chological play, was the vehicle chosen more interest in television and drawn if intelligently handled. by the Television Workshop of New more mail and telephone response by York City for the first performance of many times from the audience in the January 21, 1944. A precarious experi- their first television stock company. Pre- Troy -Albany -Schenectady area than any ment turned out well on that evening - sented originally in New York, over presentation. an hour long show "carried" other by a single WABD, the play was next telecast over personality, Andrew Ponzi, who was at WRGB, General Electric's television sta- March 7, 1945. "The Furnished the time the world's champion at pocket tion in Schenectady with the same cast. Room." An original script opening with billiards. With only a minimum of help The period in from other individuals, he was on the air cast for the play, which told the story an atmosphere setting for the for an hour or more; and his demonstra- of an acquitted murderess who confessed which O. Henry wrote consisting of live tion, his patter, and his trick shots fasci- her crime while in a cataleptic trance, in- action with nostalgic vocal music plus nated the audience, both in the studio and cluded Steve Roberts, Mason Andrews, special produced motion pictures and at home. Josephine van Fleet, Jack Bittner, Ronald voice -over narration, establishing a mood Alexander and Donald Keyes, all mem- and locale for a dramatization of "The February 18, 1944. "The First Time I bers of the Television Workshop Players' Furnished Room," one of O. Hènry's Saw You," written especially for perform- Group. short stories. ance over WRGB by Charles Wilde, con- tained a complete fashion show within Oct. 13, 1944. "Conquest Over Dark- April 25, 1945. "Backstage at Gim- the framework of a detective comedy. ness," Episode I, "The Golden Ox." This bel's." A commercial program dramatiz- April 28, 1944. This was the occasion was the dramatized story of Tom Daven- ing in an entertaining way the institu- of WRGB's second and more notable ex- port and the first electric motor. It was tional story of the testing laboratory which periment at televising a newspaper, taking an outstanding production because it made serves the Gimbel chain of stores. 54 TELEVISER

www.americanradiohistory.com both students and teachers in the cast. CORP. SPONSORS The final show of this series was an all - ADMIRAL star variety revue with the best talent from earlier variety shows. At the Board of Education's request, no special prizes are UNIQUE TELE SERIES awarded. Instead, all students who appear on the program receive special television ATELEVISION "amateur" program tumbling and body- conditioning exercises. performance certificates. These will be with a purpose is the best descrip- The show of May 11 was presented by awarded at a banquet which Admiral will tion of the video -show inaugurated the art division of the school system and tender the students some time during the in April by Admiral Corporation and pre- handled entirely by Elizabeth Wells Rob- summer. sented once a week on Station WBKB, ertson, veteran art director of the city's From the standpoint of response, by from kindergarten Chicago. schools. Groups, talent, by audiences at station WBKB, and de- through high school, were presented in a The program, "Young Chicago," by student bodies as a whole, Jennings rives its talent entirely from students of program that demonstrated the educa- has asked Admiral to resume the series the Chicago high school system through a tional purpose of art in the school. The next fall. There is also a likelihood that tieup effected with George Jennings, di- show of May 18 was the final event in a who already have rector of the Radio Council of the Chi- two -week city -wide celebration of the Chi- a small group of those cago Board of Education and an ardent cago education centennial and was writ- appeared will be used by Admiral during television fan. ten, staged and produced by teachers, with the summer to keep the series alive. Auditions, in which Admiral plays no part, are held once a week by the Radio PRESENTATION OF AWARDS Council in the studio of its own station, WBEZ. Aspirants are graded by members of Jennings' own staff and the best ones each week are chosen to appear on the program. Beulah Zachary of Television Station WBKB directs the shows. The first program, presented April 6, brought so large a spectator turnout Sta- tion WBKB instituted an admission ticket arrangement, which went into effect the first week in May.

2 Types of Programs From Admiral's standpoint the purpose of the show is to stimulate interest in television among youngsters now in their Capt. John G. T. Gilmour presents the 1944-45 American Television Society Awards at the teens who, in the opinion of Richard A. Museum of Modern Art on June 14. Seated (I. to r.) are: Lee Cooley of Ruthrauff & Ryan, Graver, vice president of Admiral's radio Leonard F. Cramer of Allen B. DuMont Laboratories, Inc., Paul Alley of WNBT, Jack Productions, Inc., and television division, be the Poppele of WOR representing W6XOA, Paul Raibourne of Television should representing W6XYZ, John Royal of the National Broadcasting Company, George T. most enthusiastic video fans once tele- Shupert, newly elected president of ATS, Capt. Gilmore, Prof. Edward C. Cole, Emerson vision goes properly "commercial." Markham of General -Electric, Ben Feiner of the Columbia Broadcasting System, Charles Kleinman of RCA, and Paul Mowrey of the American Broadcasting company. From Jennings' standpoint it offers the same thrill that radio appearances did to ON June 14 the annual American Tele- ing Football Television Technique"; youngsters a few years back and will also vision Society Awards were made to WRGB, "Best Institutional Television provide a wide range of possible experi- the following: Commercial ( "Conquest Over Dark- ments by the Board of Education against WNBT, New York, for Outstanding ness"); Klaus Landsberg of W6XYZ, Los the time when programs will be piped Production, "Metz in White "; WCBW, Angeles, "Consistent Technical Excellence into Chicago's high school for lectures, New York, for Outstanding News Pro- in Television Productions"; Paul Mow - physical training, etc. gram, "CBS Newscast "; WRGB, Schenec- rey, "Outstanding Work in Preparing the The programs are of two types. One tady, for Outstanding Contribution to American Broadcasting Co. for Tele- is purely variety, with the usual assort- Children's Programming; WCBW, for vision"; WBKB, Chicago, "Preparing the ment of dancers, singers, comedians and Best Educational Program, "Opinions on Mid-West for Commercial Television "; instrumentalists, all high school students. Trial"; WNBT for Most Consistent W6XAO, Hollywood, "Making Tele- The other falls in the educational realm. Sports Programming; Ruthrauff & Ryan, vision Facilities Available for Commercial The show of April 20, for example, was for Most Consistent Effort in Developing Oevelopment on the West Coast "; presented by the physical education de- Effective Program Commercials. WABD, New York, "Development of partment of the Board of Education, with Special Awards were also made to Paul Television Commercially." selected groups of instructors and stu- Alley, "Outstanding Editing of News An ATS Service Award was presented dents demonstrating fencing, wrestling, Films "; WPTZ, Philadelphia, "Develop- to the retiring president, Dan D. Halpin. TELEVISER 55

www.americanradiohistory.com muscle control required stronger lenses. But CORRESPONDENCE these reading glasses of five years before, now ... are exactly right for viewing images 5 to 8 ft. away, and so bring in the television images Editor of TELEVISER: This is an I angle think the F.C.C. has over- with new clarity and comfort. As a result, he From articles in the various trade papers, it looked! now watches television shows hour after hour - seems that television programs of not more than A. J. MossY, Gen'! Mgr. including the V -Day all -day programs -with- from two to six hours per day will be feasible, Station KGVO out any strain or fatigue whatever. depending upon the size of the community and Missoula, Montana DR. O. H. CALDWELL the cost of producing these programs. Now why Editor of TELEVISER: Editor, Electronic Industries not combine the allotted frequencies of F.M. Designers and manufacturers of direct -view- and television and permit the television appli- Sirs: Why not make TELEVISER a monthly? ing television sets seem largely to have over- cant to broadcast audio F.M. on his television CHARLES SAUNDERS looked the fact that for a considerable propor- frequency thus permitting full 24 -hour use of Station 1r/ ALA tion of their customers and viewers, the best each frequency if the need requires it? Televi- Mobile, Alabama viewing distance for such a telepicture falls in sion receivers can be built to operate their the gap between reading glasses and good "dis- F.M. sections only, like present day radio sets, Sirs: In the Spring issue of TELEVISER -which tance" vision. This may account for the com- over which announcements can be made con- I have just read from cover to cover -I was plaint sometimes heard that "watching tele- cerning special television broadcasts during the glad to find that you offer subscribers many vision hurts my eyes." day. Regular television broadcasts being sched- helpful services.... I had not known of your uled mainly in the evening peak audience Television sets involve a considerable outlay magazine until I found the Spring issue. The periods. This dual use of transmitters and and hence will at the beginning be purchased by information contained therein is invaluable, not receivers will permit maximum use of television older persons. Most of these older people wear only for present reading, but also for future broadcasting equipment, receivers and allotted glasses designed for reading at 12 to 14 inches, reference. You are to be congratulated for so frequencies. It will permit speedier develop- but their unaided vision is usually still sharp adroitly filling the long -standing need. Enclosed ment of both F.M. and television because the at distances above 8 to 10 ft. For distances "in is a remittance for my subscription. Let me new receivers will be of dual purpose and thus between," however, such persons are not express in advance my appreciation for the easier to sell to the public. equipped for comfortable vision. Hence when many services extended. Applicants can furnish F.M. immediately a television screen is to be viewed at 5 to 8 ft. SHIRLEY THOMAS upon availability of equipment and television ordinary reading glasses are of no service, 912 E. San Jose programs increased as the market and finances while normal vision or distance glasses are not Burbank, Calif. permit. I feel that television will replace audio helpful either. As a result, such persons sitting Sirs: We would like to let you know that we as surely as "talkies" replaced the "silents," 5 to 8 ft. away from the television image find TELEVISER of genuine interest and look but a transition period should be provided suffer unconscious strain, which manifests itself forward to each issue. similar to what I here suggest. after an hour or two of television, as eye ROBERT E. GREY, Director While the F.C.C. has turned "thumbs down" fatigue or strain. The Sound Workshop on the idea, and in the major cities television One solution will be to have oculists pre- Los Angeles 36, Calif. will be able to stand on its own feet and scribe special glasses for viewing television where F.M. alone also has merit because of screens at 5 to 8 ft. adapting the lenses to the Sirs: In reading your magazine, I found it not its high rejection of interference value, there particular eye conditions of the individual (in only interesting but informative. I especially aren't enough of these large cities in the good the same way other lenses are adapted for enjoy the articles on production of television. old U.S.A. to give the people nation -wide reading at 12 to 14 inches). One older tele- JERRY STRONG service. Lewis Allen Weiss claims it will take vision enthusiast found he could use his own Station W/INX a city of 250,000 or more to support an ex- earlier pair of reading glasses, for good tele- IY ashington, D. C. clusive television station. There are but 37 vision seeing at 5 to 8 ft. These outdated glasses such cities in the United States. So, it's going were no longer suitable for reading close - Sirs: We like TELEVISER S choice of articles, to be up to the smaller fellows to do the job. held printed pages, as the changes in his eye- and are especially interested in knowing more of the merchandising possibilities of television. FRAN MURRAY, INCORPORATED a scene, what have you accomplished ? Cleveland, l5, Ohio TELEVISION QUIZ 6. The microphone and television cam- era are known as the team of WASHINGTON VIDEO -NOTES (Submitted by Gerald O. Keye, Tele- and (Continued from page 4) vision Instructor, City College of New York) 7. Where one picture fades out as an- Its present black and whiteness is too other comes in, so that two images points. Repeater stations will be automatic are seen at once -what have you ac- and unattended. According to Sid Ro- 1. What is the verb that expresses the complished ? bards, RCA Information Chief, the relay action of moving the camera in for 8. What is a camera view of three will be built as soon as wartime conditions a close-up--or out for a long shot? people labeled? permit. Whether NBC will use the circuit 2. What do you call for when you 9. When you introduce pictures or for program relay between Manhattan and want the outgoing picture as large sound which do not originate in the the Capital City when the District of as possible; maximum the close -up? studio at the time of the telecast, Columbia station is built couldn't be 3. What are you asking the cameraman what is it called? learned. RCA circuit will be third radio to do when you instruct him to 10. What is a vertical sweep of the relay planned between New York and swing the camera horizontally to camera known as? Washington, others being Philco, General follow the action on the set? ANSWERS Electric and International Business Ma- 4. The overhead microphone, mounted (1) Dolly; (2) Blow -up; (3) Pan; chines. American Telephone and Tele- on a swivel which enables it to swing (4) Boom -arm mike; (5) Dissolve; (6) graph's co -axial cable installation is in any direction, is called what? Mike and Ike; (7) Lap Dissolve; (8) scheduled for completion between these 5. When you fade out at the end of 3 -shot; (9) Dub -in; (10) Tilting. cities by the end of this year. 56 TELEVISER

www.americanradiohistory.com MUST" books 4: REVIEWS & SCRIPTS for every television man

his chapters on the camera, and on light- See these BOOKS: ing equipment. McGRAW -HILL books Section V of the book is devoted to a TELEVISION PROGRAMMING AND discussion of the audio -as it has been 10 days PRODUCTION, by Richard Hubbell. used in motion pictures and radio, and as Murray Hill Books, The. 1945. on approval 303 pp. it might (or should) be used in tele- $3.00. vision. The problem of acoustic perspec- In a sequel to "1,000 Years of Tele- tive is discussed at length, and brings for- 5 qi' vision," Richard Hubbell has made an ward many points that seem not to have important addition to the small field of been fully considered by television studios good television text -books. This time we to date. Get a sound background in principles and are given not theory, but practice-re- Perhaps the most important chapters standards of television engineering with these liable and tested information on what has in the book are Chpts. 15 and 16, "Fun- authoritative hooks by been done in television programming and damental Problems and Theory" and Donald G. Fink production. What made these practises "Toward a Video Technique." Here Mr. Managing Editor, Electronics good, or why they failed are carefully Hubbell tackles the problem of a tele- considered and analyzed, and as a result vision art form realistically by means of TELEVISION STANDARDS we have an accurate and valuable book the question and answer technique. He AND PRACTICE dealing with the most basic problems of finds suitable answers to such problems 405 pages, 6 z 9, 115 illustrations, $5.00 television as an art. as: "What is the core of the television This important book fully presents the how art ?," "What is the primary tool of tele- and why of the official standards that govern Mr. Hubbell has drawn upon his ex- television engineering, and the methods for perience as a part of the avant garde of vision?," "How should video be used to utilizing them in equipment. Here, in a single volume, is a digest of the operative CBS television in its formative stages, in develop a technique for television with- standards out flatly imitating motion pictures ?" An drawn up by the N.T.S.C. in its 11- volume the years of 1939 -1942. As a part of that Proceedings, making available to you in this small integrated group, Mr. Hubbell had interesting discussion of the development convenient book the most useful and valuable good opportunity to learn of the Russian montage, and its possible material on television transmission and recep- first hand the tion, the various systems proposed, and a com- advantages and drawbacks of the medium. application to the video points the way prehensive and consistent set of standards to be Naturally, emphasis is given to the or- for the answer. In conclusion to these used as a basis of public television service. problems Mr. Hubbell points out the fol- ganization and the experiences of CBS, PRINCIPLES OF TELEVISION not without value lowing: however. ENGINEERING In the most orderly manner possible, 1. Studios must be intelligently and 541 pages, 313 illustrations, 55.00 Mr. Hubbell discusses the nature of tele- flexibly arranged. This is a complete and authoritative book cover- vision as it compares with ing the whole field of television design, oper- the theatre, 2. Production units must work as a motion piceures and "blind ation, and maintenance of equipment. Here you radio," analyz- team. have full details on all the fundamental proc- ing the overlapping features of each, and esses of television engineering- presented in the discarding the elements that do not be- 3. Principles of editing remain the logical sequence of transmission, from the long to television. same as in motion pictures. camera itself, through amplifying and trans- Point by point he mitting equipment, radiation through space, eliminates much of the excess discussion 4. A greater stress must be made on reception and amplification, detection, and that has clouded television's way; and the mobility of the camera. finally, image reproduction. Every radio and television engineer owes it to himself to be finding the distinctive characteristics of 5. The subjective or objective ap- really well -informed -make this vital and im- the new medium, he attempts portant hook part of your working equipment. to discover proach must be considered. the technique applicable to it. Send this McGRAW -HILL Coupon This is done in the best possible and Mr. Hubbell is optimistic about the logical manner by considering the essen- future of television, and after reading his McGRAW -HILL BOOK COMPANY tials of television: the camera, and its book, one may have greater faith in its 330 W. 42nd Street, New York 18 possibilities as an art form. By consider- Send nie the books checked below for 10 day,' mobility or lack of it; camera techniques; examination on approval. In 10 days I will pay and ing the present physical limitations, and for the hooks, plus few cents postage, or return composition; editing; lighting meth- books postpaid. (Postage paid on ca,h orders.) ods and sound problems. With good analyzing the projected possibilities of authority Mr. Hubbell cites the new boom the medium, Mr. Hubbell is always well camera developed by John Arnold, in use on the side of reason...... at M -G -M. With perspective, but with- The book is well illustrated with good Name out idealism, the author proceeds to see photographs, with extensive notes on Address how this camera could be applied to tele- each, and line drawings illustrate the pro- City and State vision, and what further needs would be duction principles and problems that are Company required. Many practical suggestions for discussed. A must book for every tele- Position TEL 7 -4 engineers and designers are contained in vision person! (Books sent on approval in U. S only.) TELEVISER 57

www.americanradiohistory.com "UNTITLED" BY CORWIN CBS TELEVISION, MAY 24, 1945

The Editors of TELEVISER are grateful to Norman Corwin, the Columbia Broadcasting System, and Henry Holt, who will publish "Untitled, and Others By Corwin" next fall, for permission to publish the television version in advance of its publication in book form. Sincere thanks are also extended to Ben Feiner and Gilbert Seldes, of CBS Television Station, WCBW, for their cooperation and assistance.

SEQUENCE II 2 on Picture Drum SERGEANT: Wrist watch. CORPORAL: Check SERGEANT: Shaving kit. CORPORAL: Check. SERGEANT: Wallet. CORPORAL: Check. SERGEANT: Fourteen American dollars. CORPORAL: Fourteen bucks. SERGEANT: 62 lira. CORPORAL: What'll his family do with lira? SERGEANT: Never mind. Put it down there (pause). Portable radio. Check. Ready 2 and 3 CORPORAL: SERGEANT: Deck of cards. CORPORAL: Check. SERGEANT: Pack of letters. CORPORAL: Check. SERGEANT: Four snapshots. CORPORAL: Lemme see. SERGEANT: Come on, come on, (pause). Marks- man's medal. CORPORAL: Right. SERGEANT: That's all. "With reference to Hank Peters; he is dead . . . CORPORAL: Next.

SEQUENCE I SEQUENCE Ill Superimpose 2 VotcE: These things were sent home in a neat TAKE No. 1 on package. Easel 1 MUSIC: INTRODUCTION. But what could not be sent home were items VOICE: With reference to Hank Peters: he is unassorted and unrelated which died with- 2 on Picture Box dead. in his head when he was hit: That much is certain. TAKE No 4 The image of the evening plane caught in The fact of his death is common knowledge a skein of searchlights over the town, 1 to Location IV weight with across Ready 2 and 3 to himself and to the files of the War pulling the whole it Department in Washington, D. C. Roll Picture Drum the sky. And has been duly reported in his home- (Pits 1 to 10) The little newsboy on Maple and Elm who town newspaper, could barely hold coins in his hand while And has been taken into consideration by he counted change. his relatives and friends. The shimmer and float of summer, and the Perhaps you knew Hank Peters. bright bare legs of a woman; Perhaps if you didn't know him you saw Prevue 3 The posture of his dog, faking exhaustion, him somewhere and didn't know it was lying with his head down on the floor, he. Quite possible: but watching his every move; Because at one time or other he rode on the Roll Picture Drum Oh, a great many corny things and a few the smell of TAKE No 4 coaches of the Sante Fe, the Union Pacific, others, including antique the New York Central and the Nickel books in the public library, 1 to Location 2 Plate. He mingled with crowds in depots across the land, and at various times he was among the audience at widespread Or- pheum and Loew Theatres; He strolled, on leave, down Broadway, Wilshire Boulevard, Wabash Avenue and the main streets of Killeen, Texas, He frequently ate blue -plates at scattered Child's restaurants: was known to have purchased sodas, razor -blades, and maga- zines at Liggett Drug Stores, And before he was apprenticed to the war he drove many a mile over many a state highway, also over secondary and dirt roads not represented on the Socony maps. So it is quite possible that at some time or other you may have passed him, seen him, talked to him, jossled in the same crowd with him. Well, anyway, he's dead now. TAKE No. 1 A couple of the boys sorted out his belong- ing and put them in a canvas bag and sent Cue: Sergeant them home.

There wasn't much to send: "These things were sent home in a neat package . 58 TELEVISER

www.americanradiohistory.com The pinch of his favorite pipe after two SEQUENCE VI - Location No. 6 hours of smoking, of be recon- These items course cannot Music: A brief, rather gay passage of an structed as he felt them, and neither can American patriotic flavor, but not too ob- Hank Peters be reconstructed, at least in vious. It fades before: the form by which you may possibly have known him. DISS. TO No. 1 MOTHER: I am his Mother. His hair was and pull back brown when he was He was a DISS. TO No. 2 As for his life, there is no straightforward born.... bottle baby after three weeks. account available, but there are several 2 on Picture people who could piece it together, Flipper When he was still in knee -pants he got into although they cannot always be relied on a fight with some other boys at the corner to give you a true interpretation of the of our street, and got cut with a piece Roll Picture Drum facts. Ready 3 of metal. Let us start, then, with two men who saw Prevue 3 He was a dreamer, Henry was, with all kinds him last and first; neither friends nor (Gold Star) of ideas. Prevue 1 relatives, but professional men and thus I remember how I was hoping he wouldn't (Location IV) unprejudiced this way or that: be drafted, but he went and enlisted. And when he went away to the war he said he knew exactly why he was going, and SEQUENCE IV Location No. 4 - said he'd be back when the war was over and not to worry. But I worried. 1 MEDICAL OFFICER: I am a Medical Officer TAKE No. He kissed me good -bye on a Thursday morn- to Regi- attached the 6th Company, 22nd ing last I saw of him was when he 2 to ment, 10th Division. I have examined the -the Release went out the door, and I watched body of Hank Peters, Private First Class. of front Location IV him through the front window, going on I shall read you the contents of his death Close -up down the street. Why did he have to get of pictures certificate: "Henry Charles Peters, 26, have to happen to Identification 28406912, killed in killed? Why did it Number my boy? action of the following injuries: Abdominal Ready 2 lacerations, lower left quadrant: fracture of Prevue 2 Music: A dark passage; quiet; poignant. Backs the sternum; ruptured spleen; internal Release 1 to entirely the following speech: hemorrhages; severed right arm." That is all. Location 7 TAKE No. 2 Music: Punctuates sharply- fading down Cue: Mother VOICE: Down the street a piece, there was to fighting, Mother, behind. Location 11 VOICE: Ah, but you have left out the important Ready 2 And your boy got hit with a piece of metal. things: Change flag in will come to the door and tell her why? I to Location i He died also of a broken Hebrew window to Who And multiple abrasions of the skin of a gold star It was a long street he started down Mother, Chinese. Superimpose 2 And where in the report have you men- All the way on Maple and continuing on Flip picture 1 Picadilly and Nevsky Prospect, tioned what happened in a little Spanish Flip picture 2 town in 1938? Flip picture 3 Winding down around the main drag of Music: An angry upsurge, which subsides Flip picture 4 Canberra, quickly as the next man speaks. And connecting with footpaths in the Cue: Obstetrician REPORTER: Can you tell me something about Flip picture 5 Solomons. Hank Peters for my paper? OBSTETRICIAN: (Quietly.) I am the doctor who Many Mothers and many windows on that street, Mother, Release 1 to twenty-six years ago delivered Henry Charles Location I Peters. My file says: "Primapara: normal Ready 1 And many a turning and a sudden inter- labor, of about six hours, no complications; section. Cue: Easel on anesthaesia, ether; weight, six pounds; four Prevue 1 Where it leads to is, of course, the question Location V -B ounces. It was a simple birth. of our time.

SEQUENCE V SEQUENCE VII - Location No. 7 Music: A quiet, almost rustic theme in the strings: it fades slowly and is out by the end Music: It continues alone for a moment. of the third line of: QUICK TAKE No.1 TEACHER: I was his teacher. (Music out.) TAKE No. 1 VOICE: Ah, but it was not a simple birth, He was a fair student, nothing out of the His mother's womb having inward connec- 2 to Location 9 -A ordinary. His average grade was B -minus Release 2 to tions with overall, rating a C in English, A in History, Location V -B Scandinavia and the springs and winters of D in Georgraphy and B in Chemistry. Best (Easel) that region. Shift to film mark was in History. He was in the lower The seed of his father being out of the third of his graduating class. That is all we cross- fertilizations of restless migratory Ready 2 have in the record. peoples, and the silt and backwash of a thousand continental water; TAKE No 4 At his birth his pulse was 130 and his states SEQUENCE VIII were 48, His respiration was 72 and his rights equal, MI/SIC: A statement very close to a fanfare. It And there were 56 teeth implicit in his gums, Develops and sustains under: And 21 amendments in his Constitution. Although he was blind at birth and without Cue: Globe to VOICE: There is more to the record: a mind of his own, spin Sir, he went beyond you in Geography, learn- He was nevertheless automatically a citizen ing that an ocean is a strait, a continent of his country, an isthmus: Certain privileges having been obtained in Prevue 2 Learning that the sky is the limit of the his name and underwritten by many men, C U on ball letting of blood; Among them some too famous to be men- of wool Learning the lay of the darkest land. tioned, And others less famous who died in battles Sir, he has been graduated with honors too familiar to be here recounted. And he shall have a good mark in History Do you call that a simple birth, forever. TELEVISER 59

www.americanradiohistory.com And good enough to recognize that whereas 4:40 would buy two good seats to the Municipal Auditorium to hear the Sym- phony, SUPERIMPOSE 3 It was a hot and smoking 75 did the argu- ing for Mendelssohn and Gershwin and the deeply non -Aryan St. Louis Blues. DISS. TO No. 3 Among the heavy drums Hank sat and played Ready 1 the bazooka, played the sweet bazooka, 2 on Location 11 played it sweet and low and ducked his Prevue 1 head from time to time as chords crashed all about him; ',UPERIMPOSE 1 And when the raid was over he would rise and pick his pack up and go on against the kettle- drums, against the snares and booby traps and paraphernalias of the DISS. TO No. 1 well- rigged enemy. And by such tactics, his and others of his band storming the Appian Hill up as far as the third position, Prevue 2 The comfort of a box seat at the Hold 1 till com- Met was being made secure, pletion of mu- And the undivided concentration of the sic music -lover in his home was being con- He started with the violin at the age of 12 . .. voyed safely through the program on the radio. SEQUENCE IX - Location No. 9 -A Music: The spirit of the music which preceded SEQUENCE XI - Location No. 11 the teacher: But segueing now to a homely. folk -quality passage which fades under: Music: The ,pirit of the passage which pre - eded the teacher: but segueing now to a soft MUSIC TEACHER: It was I who gave him music and tender mood, holding briefly under the lessons. He started with the violin at the age TAKE No. 2 speech of the young girl who now rises. Release 1 to of twelve and went as far as the third posi- GIRL: We'd been keeping company for three DISS. No. 2 tion. I'm sorry to say he wasn't a very good 1 to Location 11 years before the war broke out, and I Location 9 -B pupil. I understand his Mother had a hard wanted to get married right after Pearl time making him practice. When he was Ready 1 and 2 Harbor, but he enlisted immediately and about fifteen he got a sudden passion to be said he'd rather wait until after the war a drummer and so he gave up the violin. I Cue: Hank to because he didn't want me tied down to Prevue 1 advised against him doing it but he was all Location 11 him in case he might get crippled or caught up with traps and snares and para- blinded or something and be a burden to 2 out of focus phernalia and I suppose he had to have his me. /ling. There's no accounting for the tastes of Prerue 1 We used to go to the movies once a week, Voice fade adolescents.-When he was nineteen or so, depending on who was playing, or to a Out of focus he got to appreciate good music and, in fact, concert, and occasionally we went dancing and then in the last time I talked with him was at a at the Palladium on a Saturday night. We Voice fades in, concert at the Memorial Building in town. were both crazy about photography, and 1 out of focus He was there with his girl, and we met at TAKE No 4 used to keep a picture album together, in Out of focus intermission and made a date to meet after- which we pasted pictures of all the places and then in ward, and Mr. Draper and I and Henry and we had been, and all the people who were Marion went to an ice -cream parlor and we important to us, like our families and the 1 to Location I had a fine time talking about things in gen- boy who first introduced us at a party. eral, and I got to like him very much. I saw Hank became very serious toward the end Prevue 1 him a couple of times after that, at the 2 on Album though, and he used to talk a great deal movies, but I never again got to speak to about the world and its problems. him. I was really sorry to hear about him. Prevue 2 When Hank went away, I felt sure he'd I mean about what happened to him. come back, and I still can't get used to the idea that he won't. SEQUENCE X

FAST DISS. TO I Music: A poignant and adolescent passage: (Location 1) Solo violin against sombre woodwinds. It is punctuated by symbolic tympani and drums 2 to Location 10 as the speech may indicate. VOICE: Who was it fiddled while Rome was Shift to film burning the native huts of Abyssinia? Very respectable gentleman indeed, includ- Ready film ing old King Carol and his fiddlers three - Pagannini Baldwin, Joachim Blum, Sir John- Ready 2 ny One -Note, And choirs of fiddlers, whole companies of fiddlers, nations of fiddlers, All of whom may now sound A's for a dead soldier, And then go into a pavanne. Call it- None but the Purple Heart. TAKE No. 2 Music: Up and in the clear for ten or fifteen Release 1 to seconds. At a diminuendo the voice resumer; Location 10 VOICE: Private First Class Peters was a good - Ready 3 enough music pupil soon to see relation- Prerue 3 ships between the concert repertoire at home, Hit the film. And how the boys were doing on the beach-

head; We used to keep a picture album together . . ." 60 TELEVISER

www.americanradiohistory.com Music: This being not especially a doctrine short - TAKE No. 2 VOICE: While you weft going to the movies waved from abroad, but rather early Amer- once a week, ican ... The Weimar Republic failed you. On the day he died, Reconnaissance had While you were fumbling on a sofa, told them that the foe lay straight ahead, A paperhanger laid waste your plans. but Pete knew very well some of the in your picture album, enemy was back at home - Have you not left out the of Sena- Publishing daily and Sunday. Prevue 1 gallery who tors voted down the League of TAKE No. 1 Nations! Music: A stern comment, brazen and harrh. Cuel Nazi The music cuts off for- And a group -shot of the Chinese of Muk- 2 to Location 6 den -dead since 1931? And a closeup of the greaseproud face of Franco? SEQUENCE XIII - Location No. 13 These people were important to you also. DISS. TO No. 1 Tonight your arms lie empty of your lover 2 to Location 12 Because it was assumed in local legislation circles, after once such war as this, The world was none of our concern. Prevue 2 The empty pillow beside your own Cue: Editor Is stained with oil we sold the enemy. (Swing boom to Our foreign policy was set against the occa- pick up the sional Saturday night at the Palladium, typewriter on Or so it turned out when the scrap reserve Location 12) got high enough in Yokahama.

SEQUENCE XII - Location No. 12 Cue: Girl out. TAKE No. 2 EDITOR: I got a letter from him once, practi- cally telling me how to run my newspaper. He demanded to know why we took the line 1 to Location 1 we did, in our editorials, about certain fundamental and constitutional things. He accused us of being anti -war and against the United Nations simply because we ham- mered away at waste in Government and kept pointing out the dangers of trusting "I killed him. It was early in the morning .. . Preview 3 our allies too far. He indulged in the fruit- less and misguided pastime of calling names and took occasion, in his letter, to label us NAzi SOLDIER: I killed him. It was early in the Fascists simply because we took a strong Cuel Hank to morning when we shelled the road. I did position against the excesses of labor and Location 13 not see him, of course, because I was miles warned the not to encourage racial public away. I merely pulled the drawstring equality among population groups for whom which fired the 88 milimeter shell. equal rights would obviously create prob- Ready 2 and 3 As far as I am concerned, it was merely a lems that would upset the entire social struc- puff of smoke on the side of a hill. It was we received ture. typical of letters I had nothing against this man personally. from numerous victims of propaganda, and I was merely doing my duty for the Fade out 2 so naturally we did not print it. Prevue 2 Fuehrer and the Fatherland, in the strug- Open Mike 2 VOICE: Yes he was the type to trust an ally gle to save the world from the Bolshevik in all seasons of travail. Democrats. FADE IN No. 3 For in the summer of the year, It was entirely an impersonal matter. Ready 1 and 2 When the star close by us shone upon the Heil Hitler! midlands Music: A pompous and Wagnerian strain, go- No. 2 STAY ON And the grasses grew exuberantly on the ing our quickly under: EDITOR moors Flank trusted the young men of an ally up VotcE:When the last bomb has trumped as far as thirty thousand feet against the And the tank is garaged finest squadrons of the obviously unvan- And the cruiser wheels about and makes for quishable Luftwaffe; port, When the tape is scraped off the windows Prevue 1 And in the Spring of yet another year When the dandelions in cool disdain of the in London communiques appeared among the corpses. And the delicatessens of Copenhagen once And spice-carrying breezes from neutral or- again break out in green neon, chards to the south blew softly over the When the wives and children go down to ammunition dumps, he trusted the young the station in Council Bluffs, TAKE No 4 TAKE No 4 men of another ally as far as the border of Knowing that Victory comes in on the 5:45, Rumania and still farther. Prevue 3 Mrs. Peters will be sitting alone at the front 1 to Location 15 room window to 1 next move into He was also the type to enjoy the excesses listening the bells and Location 13 of labor the whistles. quickly! As they appeared in the shape of the gun in The mother of the smokepuff on the hillside his hands, Will finger a worn gold star, As they flew by the hundreds over his head, Remember the son you killed merely in the And as they rolled on tracks and treads down name of the Mystic Munich. Cue: Editor to the paths of most resistance. lW'bat will You be doing then Blitz Boy? type Hank was the type who insisted upon calling Where will you be going then, Warmaker a spade a spade, Extraordinary? DISS. TO No. 2 His nose contending Fascists by any other SUPERIMPOSED 3 What impersonal matter will absorb you on 1 to Location 13, name smell just as bad. Prevue 1 that day, Master of Europe? quickly! He was an easy victim to the propaganda Release 3 at Music: A development of the previous cue. It on letterine. that all men were equally created music climax fades under the speech of Ferriter. TELEVISER 61

www.americanradiohistory.com I am buried, but no deeper than the children of Chungking. I know, I know, How there will be the jubilation at the end, And how the proclamations will be sent out on the waiting air. 2 to Location 17 They will gather in committee, Pose for pictures, Sign the papers. Territories will be wrangled, and big pun- ishments performed. It will be seen -to that the ruins are most carefully policed. (Will someone give my best to Marion the day that Palestine is taken up ?) Ah, there will be a stirring and a busyness about the capitals, And Charlie Ferriter will wonder if perhaps he's being answered. The charters will be sealed in wax above the bodies of the dead And all the words will make a noise of truth and sensibility. And let me tell you: From my acre of now "I'm Charlie Ferriter. Me and Hank was crawling . .. undisputed ground, I will be listening: But I will be listening, clauses in the contract where the word SEQUENCE XV Location No. 15 To - Democracy appears And how the Freedoms are inflected to a TAKE No. 1 FERRITER: I'm Charlie Ferriter. Me and Hank ear. 2 to Location 15 was crawling on our bellies up a slope Negro's I shall listen for a phrase obliging peo- one morning and there was a stinking big little ples red flash, and I of the earth: looked around again, Puerto Hank was just a mess of rags. For partisans and Jews and Ricans, Me and Hank used to get into arguments Chinese farmers, miners of tin ores beneath about the war. Bolivia; He used to talk about Freedom and he said I shall listen how the words go easy into that's what we were fighting for. Russian, Well, for Criney's I knew that, he didn't And the idiom's translated to the tongue of have to tell me that, anybody except a Spain. I wait a Fascist louse would agree it's the best I shall wait and shall in long and thing in the world anybody could fight for. long suspense the that the Peace is setting But what I'd like to know is, why do For password solidly. Cue: Hank back you have to fight for it every 25 years. On that day, please to let my mother know Location 1 Can't somebody figure a way around that? Why it had to happen to her boy. Prevue 2 What bothers me is whether I'm being a TAKE No. 2 sucker. Because if this war don't add up Music: Up and out.' i to Location 1 to something big- something bigger than ever came out of any other war-then I don't know what I'm doing in this outfit. I used to say to Hank, if the people who are still alive when this one's over -if those I Was Hank Peters. I Assure You I Hated To Go .. . people don't do something sensible about it, then what the heck is the use? What's the good of guys like Hank Peters getting knocked off if nobody knows what to do over their dead bodies? (Angrily) What are you going to do about it?

SEQUENCE XVI

Prevue 1 Music: A very angry passage, cutting out sud- Cue: Sound denly and sharply for: VolcE: (The same as we have been hearing) TAKE No. 1 I was Hank Peters. I assure you I hated to go. It is not easy to Ready 2 and 3 leave a woman crying at a train -gate. It is not easy to leave a mother standing at a 2 to Location 1 window; to walk away and not look back. You can get lonesome no matter what, when you are far from home, especially if you don't know when if ever you are coming back. DISS. TO No. 2 I am dead of the mistakes of old men, Ready 1 And I lie fermenting in the wisdom of the earth. I am very dead, but no deader than the SUPERIMPOSE 3 British who struck at Alamein, the Reds TAKE No 4 who crossed the Dnieper going west. I am silenced but no more silent than the partisans of Yugoslavia who fought tanks Prenne 3 with their bare hands and a bottle of benzine. 62 TELEVISER

www.americanradiohistory.com TELEVISER'S ANNUAL INDEX As an aid to libraries, schools, colleges and students of television generally, the editors publish this Index to articles that have appeared in TELEVISER since the Fall, 1944, issue. (If back copies are desired, write to the Readers' Service Bureau, Televises Magazine, 11 W. 42nd Street, New York City, enclosing one dollar for each back issue desired. Bound Volumes, consisting of all issues of TELEVISER, together with an Index, are available at $5.00 each. Quantities are strictly limited.)

A D Interest in Retail Television High -But! by John W. Hahn, Fall -'44, p. 31 Actors for Television, by Edward Sobol, Spring Dance on Television, by George Leon, Spring - '45, p. 20 '45, p. 27 Designs for Postwar Receivers, Winter -'45, Adapting a Radio Play to Television, by Tony K Ferreira, Fall -'44, p. 20 p. 50 Advice to the Talented, by Selma Lee, Fall Display and Television, by R. C. Kash, Fall - Key to Success: "Advance Preparation!" by - '44, p. 42 '44, P. 9 Pat Murray, Spring -'45, p. 14 Documentary Writing for Television, Spring After 4,000 Years -Television Comes of Age, - '45, p. 39 Fall -'44, p. 4 Does Daytime Video Have a Future? Fall -'44, L Agencies and Advertisers on WABD -Du Mont, p. 23 1944. 45 Winter -'45, p. Daytime Video Has a Future, by N. D. Waters, Language of Television: A Glossary of Terms, Agency and Studio Chit -Chat, by Robert Enash. Fall -'44, p. 23 Spring-'45, p. 28 Spring -'45, p. 44 Language of Television, Summer -'45, p. 34 America's First Video Theater, Winter -'45, Light Opera on Television, by Bob Stone, p. 36 Spring -'45, p. 24 American Television Society, Spring -'45, p. 40 E Log of a Tele Program-"Queen Was in the Applying Film Technique to Video Production, Educational "Sustainers," by Alfred G. Wilson, Kitchen," Spring-'45, p. 16 by Norman Rosen, Fall -'44, p. 29 Winter -'45, p. 52 Approach Toward Better Programming, by Equipping Your Television Station, by Herbert Irwin A. Shane, Fall -'44, p. 64 E. Taylor, Jr., Fall -'44, p. 51 M Audience Research Now! by Dr. Norbert Macy Display Man Welcomes Television, by Muehlen, Spring-'45, p. 43 Whiting Thornton, Fall -'44, p. 42 F Mademoiselle Tele Series at CBS, by Marian Thomas, Spring -'45, p. 42 Fashions of the Times on Television, by Vir- Make -Up, by Helena Rubinstein, Winter -'45, ginia Pope, Winter -'45, p. 46 p. 20 Bloomingdalé s Television Plans, Spring -'45, Factors in Good Directing, Winter -'45, p. 16 Making Motion Pictures for Television, by A. p. 49 Fall Brings Increased Television Activity by B. Heath & J. Raymond Hutchinson, Spring Blue Network's Video Debut, Spring-'45, Advertisers, Fall -'44, p. 31 -'45, p. 29 p. 30 Field of Focus, by Irwin A. Shane, Winter - Mail Orders via Television, by Al Bernsohn, "Boys from Boise"-by Raymond E. Nelson, '45, p. 64 Fall -'44, p. 36 Winter -'45, p. 24 Film to Cut Costs of Department Store Video Marshall Field's Tests Television, Fall -'44, Broadway Director in Television, by Sanford Operation, by John Flory, Fall -'44, p. 44 p. 39 Meisner, Winter -'45, p. 15 Films for Television, by Ted Estabrook, Sum - Meet Bill Still! by Al Bernsohn, Fall -'44, mer-'45, p. 25 p. 55 First 100 Are the Hardest! by Raymond E. Meet the Television "Angel" -The Sponsor! Nelson, Spring-'45, p. 48 Fall -'44, p. 24 C First Traveling Stock Company, Fall -'44, p. 4 Music for Television, by Midge Kline, Fall - From Shadows to Light, by Dr. Alfred N. Cable from Britain, Summer -'45, p. 45 '44, p. 14 Cameras and Cameramen, by Alan Louis KIe- Goldsmith, Winter -'45, p. 57 My Agency Is Getting Video Experience, by ban, Spring -'45, p. 37 Norman D. Waters, Winter -'45, p. 41 Can Television Pay Its Way? by B. Lewis G Posen, Fall -'44, p. 41 Casting for Television, by Florence Green, "GI's" in Television, by Sgt. George Meyers, N Summer -'45, p. 22 Winter -'45, p. 22 Chicago Adv. Agency Inaugurates New Pro- Needed: Good Programming, by James Law- rence Fly, Fall p. 45 gram, Summer-2945, p. 51 -'44, Network Fashion Reviews, by Ted Solomon, Chicago Goes Commercial, Summer -'45, p. 51 H Fall -'44, p. 45 Co -Axial Cable -What it is -and Network New Careers in Television, Uses, Summer -'45, p. 44 Housing in Wartime (Television Script), Fall -'44, p. 10 New Uses for Trade -Marks Fall p. Color and Steroscopic Television, by John L. Spring-'45, p. 61 -'44, 37; Sight -}- Sound Sales, by Vyvyan Baird, Spring -'45, p. 7 How to Get Television Experience Now! by = Donner, Fall -'44, p. 38 Converting from Radio to Video Broadcasting, Irwin A. Shane, Fall -'44, p. 2 Notes on Camera by Dr. Alfred N. Goldsmith, Summer-'45, How to Rehearse Your Show, Fall -'44, p. 16 Use, by Norman Rosen, p. 13 How Video Commercials Will Tax Advertisers' Winter -'45, p. 23 New York Stores Report Interest in Retail Copyright and Television, by C. J. Woodworth, Ingenuity, Fall -'44, p. 32 Video, Spring-'45, p. 25 Spring -'45, p. 41 Corwin s "Untitled" Makes Tele Debut, Sum- mer-'45, p. 24 O Cost Factors in Television, Spring-'45, p. 36 Costuming for Television, by Harry Conover, Industrial Television Systems, by James D. Open Letter to B. Lewis Posen, by Samuel H. Spring -'45, p. 31 McLean, Fall -'44, p. 53 Cuff, Winter -'45, p. 49 TELEVISER 63

www.americanradiohistory.com Studio Tour I: WABD -Du Mont, by A. Eliz- "29 -30" or Bust!" by Harvey Marlowe, Sum - abeth Browning, Fall -'44, p. 56 mer-'45, p. 31 Performer Speaks, by Patricia Murray, Fall - Survey of Advertising Agencies Planning Tele- Training of Studio Personnel, by Louis A. '44, p. 18 vision Now! Summer -'45, p. 47 Sposa, Summer -'45, p. 41 "Pick -Ups" in New York and L. A. Areas, A 2 -Year Log of Outstanding Programs at Spring -'45, p. 53 WRGB, Summer -'45, p. 20 Postwar Television Standards, by Dr. Alfred N. Goldsmith, FaI1 -'44, p. 49 Postwar Television Windows, Fall -'44, p. 43 Problems & Profits for Tele Retailers, by Stan- T u ley Kempner, p. 54; Summer -'45 "Untitled" by Corwin (Script), Summer Programming -Some Basic Considerations, by -'45, Tele-Theater Sells Friends on Video, Summer p. 58 Lenox Lohr, Winter -'45, p. 38 1945, p. 51 U. S. Government Television Studio, by Larry Programming, by Tom Hutchinson, Fall -'44, Teaching Television, by Samuel H. Cuff, Sum - p. 26 p. 12 Carl, Spring -'45, mer-'45, p. 26 "Private Johnson's Xmas" (Script), by David the News, by Cassirer, Kaplan, Winter -'45, p. 61 Telecasting Dr. Henry Psychologist Views Television, by L. Chal- Winter -'45, p. 13 N. Y fin, Winter -'45, p. 37 Tele- Highlights, by Stanley Kempner, Spring - Puppets on Television, Winter -'45, p. 28 '45, p. 6 Video Announcer, by Dick Bradley, Fall -'44, Televising Art, by Ladislas Segy, Spring-'45, p. 11 p. 27 Video in Transportation, by Henrietta Schumm, Television "Boners" and Their Cure, Summer Winter -'45, p. 34 -'45, p. 15 Video Sells Razor Blades, by S. Carl Mark, Q Television Broadcasting: Production, Eco- Summer-'45, p. 49 nomics, Techniques, by Lenox R. Lohr Visual Effects, by Capt. William C. Eddy, "Queen Was in the Kitchen," Spring-'45, (Book Review), Winter -'45, p. 59 USNR, Winter -'45, p. 26 p. 16 (See also "Log of a Tele Program ") Television Chaos Avoided! by Will Baltin, Visual Effects, by Capt. William C. Eddy, Fall -'44, p. 52 USNR, Spring -'45, p. 34 Television Director, by Thomas Lyne 'Riley, Fall -'44, p. 5 R Television for Retailers, by Irwin A. Shane, Fall -'44, p. 34 W Radio Artist Writes of Television, by Jessica Television's Independent Stations, by Wm. B. Wartime Operation at WRGB, Summer -'45, Dragonette, Fall -'44, p. 15 McGrath, Winter -'45, p. 51 p. 46 Radio's 100 Men of Science, by Orrin E. Dun- Television's Market -Some Facts and Figures, Washington Video -Notes, by Larry Carl, Win - lap, Jr. (Book Review), Spring -'45, p. 59 by Dan D. Halpin, Spring-'45, p. 45 ter-'45, p. 4; Spring-'45, p. 4; Summer - Radio vs. Television, by Ted Collins, Spring - Television's New Program and Talent Re- '45, p. 4 '45, p. 18 sources, by Irwin A. Shane, Winter -'45, WGN's $5000.00 Prize-Winning Design for Recent FCC Hearings, by Earl Minderman, p. 9 A Tele- Studio, Summer -'45, p. 43 Winter -'45, p. 58 Television Performer, by Patricia Murray, Win - What About Color? by Lela Smith, Fall -'44, "Report from Britain," by E. Chisholm Thom- ter-'45, p. 17 p. 26 son, Winter -'45, p. 31 "Television Pioneers Are the Funniest People," What About Post -War Program Scheduling? "Researcher Views Television, by E. W. Eng- by Glorianne Lehr, Winter -'45, p. 40 Winter -'45, p. 12 strom, Summer -'45, p. 39 Television: Programming & Production, by R. What Retailers Can Do Now About Postwar "Road to Television," by Nathan M. Rudich, T. Hubbell (Book Review), Summer-'45, Television, by David Arons, Fall -'44, p. 40 Winter -'45, p. 21 p. 59 What the Audience Wants -Results of a Lis- Television Programming for Dept. Stores, by tener Survey, Spring-'45, p. 10 Helen T. Rhodes, Spring-'45, p. 46 What the "Man -On -The- Street" Thinks of Television Program Syndication, by Dr. Alfred Television, Summer-'45, p. 17 S N. Goldsmith, Spring -'45, p. 54 Who Is Videogenic? by Harry Conover, Win- Television's Public Services, by Allen B. Du- "Search of a New Art Form, by Paul Knight, Mont, Winter -'44, p. 55 Who's Who in the Video World, Fall -'44, Winter -'45, p. 35 Television: The Revolution, by Robert E. Lee p. 62 (Walter R. G. Baker; Allen B. Du- Second Class Matter, by the Editors, Spring - (Book Review), Fall p. 59 Mont; Alfred N. Goldsmith; O. B. Hanson; '45, p. 64 -'44, Television's Roving Eyes, Spring p. 51 Vladimir K. Zworykin) Serving Television, Fall -'44, p. 25 -'45, by Lee De by Irwin A. Setting Up a Television Department, by Ray- Television Sets: $2 Per Week, Who Will Produce Television, mond E. Nelson, Fall -'44, p. 8 Forest, Winter -'45, p. 53 Shane, Spring -'45, p. 9 "Scream, Scream, Scream Went the Spon- Television Station Operation, by Samuel H. Who Will Produce Television? (Part II) by ... p. 47 sor," by Gerald O. Kaye, Winter -'45, p. 44 Cuff, Fall -'44, Irwin A. Shane, Summer -'45, p. 18 Shooting Television with a Still Camera, by Television Technician, by William Wallace, Will Public Events Become Private Video p. Jerry Saltsberg, Fall -'44, p. 30 Fall -'44, 50 Monopolies, by Bernard B. Smith, Winter So ... You Want to Direct? Spring -'45, p. 13 Television: Then and Now, by Dr. Sigmund -'45, p. 29 p. 15 "Sound in Television," by Richard T. Hubbell, Spaeth, Fall -'44, Women in Television, by Marian Thomas, Summer -'45, p. 27 Television to Cement Home -Ties, by Dr. Ores- Spring -'45, p. 22 Sources for Scripts, Summer-'45, p. 29 tes H. Caldwell, Winter -'45, p. 60 Writing for Television, by Harvey Marlowe, Special Effects, by Capt. William C. Eddy, Television Tour of 88 Dept. Stores, by Bud Fall -'44, p. 27 USNR, Summer-'45, p. 34 Gamble, Winter -'45, p. 48 p. 28 Sports on Television, Fall -'44, Television Quiz, Spring -'45, p. 19 Steps in Video Production, Winter -'45, p..11 Television "Quotes," Spring -'45, p. 38 Story of Video's 2 -Hour Musical- "Boys from Y Boise," by Raymond E. Nelson, Winter - Tour of Station WRGB, Schenectady, New '45, p. 24 York, Spring -'45, p. 56 Your Video Audience, Fall -'44, p. 7 64 TELEVISER

www.americanradiohistory.com A problem in Multiplication

26,000,000 11 x = '011

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Take the case of John Smith, average American: What do you get? Why -you get a whole country that's just like For over three years now, he's been buying John Smith! A solid, strong, healthy, prosperous Bonds through the Payroll Savings Plan. War America where everybody can work and earn He's been putting away a good chunk of his and live in peace and comfort when this war is in, week out. Forget- earnings regularly -week done. ting about it. For a country can't help being, as a whole, just He's accumulating money -maybe for the what its people are individually! first time in his life. He's building up a reserve. If enough John Smiths are sound -their coun- He's taking advantage of higher wages to put try's got to be! himself in a solid financial position. The kind of future that America will have - that you and your family will have in your Now suppose everybody in the Payroll Plan -is - hands. everybody who's earning more than he or she needs to live on -does what John Smith is doing. Right now, you have a grip on a wonderful In other words, suppose you multiply John Smith future. Don't let loose of it for a second. by 26 million. Hang onto your War Bonds!

801 ALL THE SONG'S YOU CAN ... KEEP ALL THE 60N05 YOU BUY

This Space Contributed by TELEVISER Magazine "JOURNAL OF THE TELEVISION INDUSTRY" This is an official U. S. Treasury advertisement - prepared under auspices of Treasury Department and War Advertising Council

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\1 het her Amplitude Modulat ion ... Frequency \1.iJ1 - lat ion ... or Television - dependability is a must for all broadcast equipment. Federal broadcast equipment has earned a reputa- tion for that dependability because it stands up. For more than thirty -five achievement -studded years . from the Poulsen Arc to the new CBS Television Station ... Federal has served the broadcast industry with superior equipment. Federal's background includes such milestones of electronic progress as the 1000 Kw Bordeaux Trans- mitter; Micro -ray, the forerunner of modern television technique; and die first UHF multi- channel telephone and telegraph circuits, part of a world -wide communi- cations system .. . All this, plus the war -sharpened techniques that arc the result of ability and experience, combine to give you craftsmanship ... the kind of craftsmanship that ! builds dependability into all Federal equipment. InAM ... FM ... TV... . your prime need in broadcast equipment is dependability - look to Federal for it. Iq

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