UAY I

March 1946

e evasionTHE BUSINESS MAGAZINE OF THE INDUSTRY

35

NBC Television producers, directors, writers, cameramen,lighting and scenic experts, technicians and engineers ...

are backed by the longest, practical television production experience-

and the finest broadcasting facilities in the business.

Whatever your television requirements --you'll effect short-cuts and economies at NBC

whether you produce your own show with NBC experts ...whether your ideas are developed and produced by NBC or ...whether you sponsor NBC built and produced programs.

For rates and further information write:TELEVISION SALES DEPARTMENT,

National Broadcasting Company,30 Rockefeller Plaza,New York 20, N. Y.

NBC TELEVISION

NATIONAL BROADCASTING COMPANYA SERVICE OF RADIO CORPORATION OF AMERICA

AUDIO CONTROL DESK

For Aural Monitoring

The Sherron Audio Control and Monitoring Consoleoffers the aural technician or operator exclusivecontrol in Television, FM or AM broadcasting.

All contacts are centrally located, so that theoperator can meter and monitor the aural programwith complete ease.

Among the many features of this unit are thefollowing: seven (7) Audio Inputs; four (41 balancedladder network for control of selector inputs;line equalizer; two (2) program amplifiers;inter -office communication; decibel indication formonitoring; two turntables, a complete aural control desk.

Another important feature of this unit is the factthat it is designed to permit expansion. The rackpanels located in the center are readily removable;there are no wires to disconnect. All connectionsare made by means of plug-in jacks or sockets.

SherronElectronics

witstatirSHERRON ELECTRONICS CO.

Subsidiary of Sherron Metallic Corp.

1201 Flushing Avenue Brooklyn 6, N. Y.

-Where the Ideal is the Standard, Sherron Units are Standard Equipment.'

THE BUSINESS MAGAZINE OF THE INDUSTRY

TelevisionVOLUME III, NUMBER 3 MARCH, 1946

ArticlesWho Will Get Into Tele - and Why - by Dorothy Holloway 5

FCC thinking in D.C. allocations and its bearing on future applicants

Personnel Required for 28 -Hour Programming - by Sidney R. Lane 6How programming scope and equipment is related to the size of the staff

Television Outlook in Detroit - by Gilbert Winfield 10Recent withdrawals leave only four applicants for Detroit's five channels

Digest of Bomberger Presentation for a Washington. D. C. Station 12Analysis of a typical application presented before the FCC

Operating A Small Local Station - by Samuel H. Cuff 16How by careful planning a staff of 12 can provide an adequate programming service

Drama's Place In Television - by Harvey Marlowe 17Television requires a writing technique peculiar to its own art form

DepartmentsOne Man's Reflections - by Dr. Alfred N. Goldsmith 19

Should television studios have audiences?

Long Shots and Close -Ups - by H. G. Christensen 22Home viewers have eyes to see with - so don't waste your commercials on the obvious

Programming 24Collegiate dramatic groups . . . resume of formats

Advertising 29Comparative costs and procedures for commercial tele . . . agency activities

Equipment 33Philco requirements for D.C. station . . . latest developments . . . new patents

Washington 36Complete text of proposed decisions in Washington, D. C. hearings . . . new applications

Frederick A. Kugel, Editor and Publisher

Mary Gannon, Managing Editor; Sidney R. Lane, Associate EditorDorothy Holloway, Washington; T. R. Kennedy, Jr., Technical Editor; Jack Kilpatrick, Patents

Lawrence Sweeney, Business Manager: Evelyn Hellem, Circulation Manager

Just talking ...What with all the uninformed national magazine articles appearing lately and the withdrawal

of half a dozen or so station applications supposedly in favor of color - but more likely as an

excuse for not having to get into television now - we skipped the editorial page this issue.

We figured it would be better to count to ten before chewing someone's head off.

Frederick A. Kugel

Published monthly by Frederick Kugel Company, 600 Madison Ave.. New York 22. N. Y. Single copy, 35 cents. Yearlysubscription in the United States, its possessions and nations of the Pan American Union. $3.50; in Canada, $4.00; elsewhere,$4.50. Entered as second-class matter February 20. 1945. at the postoffice at New York. New York. under the act of March3. 1879. Copyright 1.946 by Frederick Kugel Company. All rights reserved. Editorial content may not be reproduced inany form without permission.

New

RC

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power supply

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Master centel (left)

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The average sm

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onitorieg the picture: picked up by each camera, a m

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select the camera pickup desied, a field v.rechro-izing generator (shaping and

pulse unit shown above') to provide standard sw

eep frequencies for the cameras

as well as the sychroniaing pulses transretted w

th the video signal, and vari-ous auxiliary sw

itching, cent of and audio equipments (not show

n)

For S

tudio Use

Fcr R

emote P

ickup

Portable Pick-up Equipment...a new, low-cost way

to get started in

TelevisionIF YOU PLAN to start a television station on a modest

scale, you will find this equipment a real money -saver. With it you can enjoy the economies of usingalready prepared program material such as, baseballgames, boxing and concerts-which do not requireexpensive rehearsals and where lighting is seldom aproblem. And you can use it in place of fixed studioequipment until you want to expand your station facilities.

When used as studio equipment, the small, lightweightcamera -control units can be mounted on tables or slidinto console -type racks (see models) that RCA will haveavailable for this purpose. The same field cameras areused.

For remote pickup, a station wagon or light truck isused to transport the suitcase -type units to the programlocation. With a station wagon, the equipment is re-moved, carried to the program area, and connected foroperation. A light truck offers greater flexibility in thatthe equipment can be operated from the truck if shelteris non-existent, or if brilliant illumination makes moni-toring difficult. As with the station wagon, where ad-vantageous, the equipment can be removed and set upat the program scene.

Setup can be accomplished in a short time. Quality iscomparable to that obtained from standard studio equip-ment. Best of all, it's easy to operate.

Write for these 8 helpful bulletins: /"Locating the Television Studio,""Locating the Television Trans-mitter," "A Television TransmitterBuilding," "A Television Broad-casting Studio," "Equipment Lay-out for a Standard TelevisionStation," "Equipment Layout for aMaster Television Station,""Equip-ment Layout for a Small Television Station with Live -TalentStudio," "Equipment Layout for a Small Television Stationwith Provision for Film and Network Programs Only."Write: Radio Corporation of America, Dept. 79-C, TelevisionBroadcast Section, Camden, N. J.

(P A \ RAD/0 CORPORATION of AMERICA.#"----',\ TELEVISION BROADCAST EQUIPMENT

Illitillk l ENGINEERING PRODUCTS DEPARTMENT, CAMDEN, N.J.

Wave Makers

"A leaping trout awakens the stillpool to life in waves that move insilent rhythm."

In the same way, when you speakover the telephone, vibrating elec-tric currents speed silently awaywith the imprint of your voice overthe wire and radio highways of theBell System.

Tomorrow, the vibrations will bethe living pictures of television. Allare examples of wave motion.

How to produce, transmit andreceive electrical wave motion isthe basic problem of the communi-cation art.

Bell Telephone Laboratories,which exist primarily to invent and

develop better communications forthe Bell System, devote the teamedefforts of physicists and mathema-ticians to the production and con-trol of electric waves in all forms.

Out of these fundamental studieshave come the discoveries whichkeep the Bell System at the fore-front of the communication art.

BELL TELEPHONE LABORATORIES

EXPLORING AND INVENTING, DEVISING AND PERFECTING, FOR THE CONTINUED IMPROVEMENT CF TELEPHONE SERVICE

4Television

Who will get into tele-and whyBy DOROTHY HOLLOWAY

JUST what are your chances for winning out over other bidders for a black -and -white television station in one of the country's top half -dozen markets?As FCC sees it, your chances are good, if, in addition to having a good Dun and

Bradstreet rating and a clean slate at the Commission you are II ) applying for a sta-tion in your home town; (2) are a newcomer to video and have no other licenses inyour pocket; (3) or are a network with plans for a nation-wide TV hook-up.

All three considerations were compelling in FCC's proposed awards of three ofWashington, D. C.'s coveted picture channels to the Evening Star Broadcasting Co.( WMAL I, Bamberger Broadcasting Co., and NBC. A fourth principle clearly implied- but not spelled out in black -and -white - is FCC's insistence on permitting onlyfinancially strong applicants in television. This feeling prevailed in FCC councils andwas plainly responsible for closing off the chances of little Capital Broadcasting Co.(WWDC) almost at the outset.

While these guideposts are important, they do not tell the whole story. For theydid not give FCC the answer on which of two tele pioneers - DuMont Laboratories,Inc. and Philco Products Corporation - should clinch the Capital's fourth and lastremaining video slot.

With Philco's withdrawal, the FCC will probably be spared the decision. Plainlywringing its hands over a choice between the two companies. the FCC had called fora further hearing at which counsel for both bidders were to have bulwarked theirearlier appeals. Philco and DuMont were given the right to take exception to any ofthe FCC proposed grants which meant keeping the Washington line-up still completelyopen and subject to change. Philco, in a letter to Charles Denny. acting chairmanof the FCC, protested the decision and pointed out their pioneering work in high -

frequency television relays. Rather than engage in controversy which would delay thestart of tele, they stated "we have therefore worked out ways and means of cooperatingwith certain other companies so that we can carry forward this development work evenwithout a Washington station."

Reaction to FCC's Washington Findings

Although the issue has been settled, radio men are quick to point out severalloopholes and inconsistencies in the FCC's rationale for its Washington assignments.

On the procedural end, lawyers take exception to FCC's provision for only an"oral argument" rather than a second "hearing" to clinch a final choice betweenDuMont and Philco. In a judicial proceeding like this, they point out, bidders cannotintroduce new evidence at oral argument. This meant that if Philco and DuMont haddecided to fight it out, the FCC would have had to reh on the relative persuasivenessof the contestants' counsels to carry the day.

At the same time, FCC's principle of preferring newcomers over those already intelevision may be double-edged. Just what effect this will have on Bamberger's appli-cation for a New York City TV station is not known. At least a half -dozen local groups,all new to television, are competing along with Bamberger for the New York market.Given a choice of only one or the other location, it stands to reason that Bambergerwould prefer a grant in New York City, its home town and the top source of pro-gram talent.

And should Bamberger win a Manhattan outlet. it seems reasonable that Philcowill have a right to feel aggrieved, since one of the arguments used against them inWashington was their ownership of a Philadelphia outlet.

Others take position that FCC gave too little weight or "veteran's preference" tothe very television companies who have pioneered and done most to make TV a reality.

Still others argue that Bamberger and the Star may never exercise their options onthe low -frequency television, since they have been assigned channels #9 and #7respectively. No equipment is presently available for either spectrum location. FCCproposes to award NBC - most nearly ready to launch a commercial service -channel 4. DuMont will probably come off with channel 5.

Judging from the way the Washington allocations came out, industry can prob-ably look forward to other withdrawals in such crowded cities as New York andLos Angeles and the strong possibility of horse trading among the various applicants.

(Full text of proposed decisions on Washington, D. C. hearings on page 36.)

March, 1946 5

PERSONNEL required for28 hour programming weekNumber of people necessary to operate a station on the required schedule which goes into effect July 1st vary from12 for a small local operation to 190 as stated in the Philco application for a video outlet in Washington.Here's an analysis of the various factors involved which will have a bearing on the final personnel requirements.

By SIDNEY R. LANE

HO\\ many people are essential to the successful opera-tion of a station on the twenty-eight hour schedule?

Personnel requirements in the operating studio today canonly be taken as a guide, for programming has beenadmittedly experimental and nowhere has it approximatedthe daily schedule which stations will have to meet be-ginning July 1st.

There are many elements which must be consideredwhen basing personnel requirements. Number of studios.amount of equipment, union regulations, interchangeabil-ity of jobs, scope and type of programming all have abearing on the final staff. In general, television personnelmay be fitted into three classifications - technical, pro-gramming and business administration. Within these sub-divisions are many variations in the titles affixed to thevarious job classifications as reported by operating andproposed stations. But that is to be expected in a mediumas comparatively new and as formative as television. Atpresent there is a degree of interchangeability but unionswho, up to now, have been studying the problems andwork requirements of the new industry, will soon step inand exert a wide influence in determining the functionsof each television employee. While many "privileges" arepermitted now, the application of union rulings to telepersonnel is a matter that is subject to change. At presentthere is the Lea Bill which seems aimed at Petrillo over-loading of personnel on broadcasting stations. If it passesCongress there will be no standby musicians or other non-participating personnel.

Equipment Design

Type of equipment will influence the amount of per-sonnel in the technical departments. Control equipmentdesign is now being studied by manufacturers with theobject of placing the controls in the hands of the fewestpossible technicians. This trend toward simplification,besides cutting down the station payroll, is aimed ateasier production and less chance of error in the "on theair" show. Something to watch for along these lines, isone manufacturer's claim that in small stations, the elimi-nation of the cameraman is possible if the scope of thepresentation is small enough to permit pickup with nochange of focus and without camera angling. However,few things are duller than a presentation limited to onefixed camera position. The desirable mobility of themedium is lost with this kind of false economy.

Technical personnel is directly related to the equipmentwhich must be handled. However, it is in the program-ming end of operations that the widest variance occursand where the personnel required is directly related tothe station's programming aims and schedules. The per-centage of live studio productions and the type of pro-gramming planned are determining factors, for obviouslysimpler presentations like audience participation and quizshows, require less production supervision than more

elaborate presentations requiring many scenes, even ifsuch programs are planned for only one or two hours aweek.

CBS in a statement before the FCC last October, statedthat they required a full time staff of 80 people to pro-duce only four hours of good and original programmingper week. In a recent article, Edward Sobol, producer at

NBT, stated "A television production at NBC involvestlie following personnel. Five men in the control room.including a man on turntables, three camera operators.three stage hands, two light operators, one "mike" boomoperator, one sound man, one stage manager, one scenicdesigner and one studio supervisor. That makes a total of18 in direct touch with the television production."

On the other hand. Sam Cuff, DuMont program mana-ger, in his article on "Operating a Small Local Station"1page 161, listed a staff of 12 people to supply an ade-quate 28 -hour programming week, for the local station.

Washington ApplicationsPerhaps the most concrete analysis of the personnel

needed to operate under the new regulations were the listsand charts presented by the applicants for video stationsin Washington, D. C. While all figures vary, they are di-rectly related to definite programming plans and technicalequipment and as such may serve as a guide.

NBC, with its weekly schedule comprising 4 hours ofstudio, 7 hours mobile, 5 hours film and 12 hours fedfrom the net in New York showed a chart of employeecategories.

DuMont's schedule called for 31 people to handle 19hours live, 6',' film, 6 remote and 21/2 relayed from NewYork. DuMont also includes among its personnel the posi-tion of Continuity Acceptance Supervisor whose dutiesinclude script censorship, copyright clearance, and exami-nation of the program plans so that there is not too muchsimilarity in music or dramatic theme on successivehourly programs. The primary duty will be to function ascoordinator of outside activity in relations with the ad-vertising agencies. Studio manager states that it is anoffice peculiar to DuMont because so much of their pro-gramming comes from the advertising agencies.

Bomberger figures on a staff of 51 for their program-ming, composed of 121/2 hours studio, 3 hours film, 6hours mobile pickups, and 61A hours from New York.The program department includes: 1 director of programoperations, 2 production directors and 2 assistants, 2writers, 1 news director and assistant, 1 special eventsdirector and assistant, 1 program coordinator, 1 art di-rector, 1 animation assistant, 1 costume and make-upassistant, 1 scenic design assistant, 1 scene shifter, 1 soundeffects technician -record librarian, 1 motion picture cam-erman. 1 assistant motion picture cameraman, 1 filmlaboratory technician, 2 executive secretaries, 6 typists.

In the engineering department there are: 1 chief engi-neer and assistant, 1 assistant supervisor transmitter, 2

6 Television

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ORGANIZATION CHARTOF PROPOSED COMMERCIAL TELEVISION STATION IN

WASH INGTON, D.C.ALLEN B.DUMONT LABORATORIES. INC.

transmitter engineers, 1 assistant supervisor studios, 4video -cameramen, 6 video -control engineers, 2 light -con-trol engineers, 3 audio -control engineers, 1 film -controlengineer, 1 assistant supervisor technical facilities, 2maintenance engineers, 1 assistant supervisor field pickup,1 executive secretary, 4 in clerical pool, 1 chauffeur.

One of the most complete lists of personnel was sub-mitted by Philco in its application. Over 40 job classifica-tions were listed, totaling a staff of more than 190 people.This total is based on an elaborate weekly schedule of41 hours, which consists of 25 hours studio, 21/2 hoursfilm, 131/2 hours mobile.

Philco's personnel includes: 5 chief technicians, 20video operators, 10 sound operators, 8 mike boom opera-tors, 17 cameramen, 14 assistant cameramen. 3 projec-tionists, 6 electricians, 6 electrician's helpers, 3 transmitteroperators, 3 assistant transmitter operators, 3 remote re-ceiver operators, 3 studio relay transmitter operators, 4remote relay transmitter operators, 3 truck drivers, 4 re-mote equipment installation men. These employees makeup the engineering department.

In the program department there are: 1 art director,1 assistant art director, 1 secretary to art director, 1 musicdirector, assistant and secretary, 4 program writers and2 secretaries, 12 program producers and 12 secretariesand script readers, 11 stage managers or assistant pro-ducers, 8 studio hands, 4 prop men, 3 announcers (male),3 announcers (female), 1 motion picture cameraman andassistant, 1 film editor, 1 staff photographer, 3 reception-ists -telephone operators, 3 receptionists, 3 guards.

Capital's application estimated a staff of 40 to handle211/2 hours studio, 33/4 hours film, 23/1 hours mobile pick-ups. Particularly interesting was their proposal to formtheir own stock company of five actors.

Minimum Technical Set -UpIn analyzing these figures, we offer the following guide,

which with careful planning should carry a stationthrough the required 28 -hour week.

An analysis of the technical equipment of a station willreveal the type and number of personnel needed to servicethis equipment. A well-rounded, adequate staff wouldinclude

1 Chief Engineer2 Supervisory Engineers

Master video control operatorsMaster audio control operators

2 Studio video control operators1 Studio audio control operator2 Studio cameramen2 Mike Boom operators1 Sound Technician1 Lighting Engineer1 Projectionist1 Mobile cameraman

Same personnel can be used to operate the equipmentneeded for mobile pick-ups and film offerings. In addi-tion, some stations will probably require a turntableoperator to dub in sound effects and musical background.

Programming DepartmentAs stated previously, the scope and type of program-

ming that stations plan will have very decided effects onpersonnel requirements. If the station plans to concen-trate on films for the bulk of their fare, the programmingstaff can be cut to the bone. Other stations will depend,to a large degree, on such outside sources as advertisingagencies and television production units to provide them

8 Television

with video entertainment. But most of the applicants arecounting on their staff for the bulk of their program-ming output.

A well-equipped programming department naturallymust be headed by a program director, capable of form-ing a diversified staff and with a knowledge of outsidesources of program possibilities. Above all else he musthe a show man and must have a completely rounded expe-rience in the entertainment field. The full responsibilityfor program policy, which will be reflected in audiencereaction to the station, is dependent upon his know-how.

Outs:de Pick -Ups\\ ont-iilr pick-ups are planned, whether by mobile

equipment or the station's own motion picture cameracrew. a field program director is needed to coordinate thispart of the schedule, and to survey all possible contactsand agencies whose cooperation is needed for well-roundedcoverage of special events, sports pick-ups, etc. Even inthis type of coverage, which can't be rehearsed, the direc-tor of the department must be thoroughly familiar withthe sport so as to plan camera positions, technical set-ups, etc. In televising special events, as much before -handknowledge as possible should be secured. Television ismore than showing things as they happen. Plans mustbe made to catch the right things as they are happening.

Film EditorAs films will be included in almost every programming

schedule. a film editor will be necessary to make the selec-tion of film material. This job requires a great deal ofexperience as a good part of the time will be spent outin the field contacting sources and viewing films for selec-tion. In addition, film sequences will often be integrated

greater authenticity.This will require the building of a well-rounded filmlibrary for quick reference when such cut -ins are needed.Still another task, and a difficult one, requiring much ex-perience, is the editing of films taken by the station'sown camera crew. This must be skillfully done (and inthe least possible time), if the resultant film is to be asmooth, interest -holding show.

Producer -DirectorUpon the producer or director depends the final video

translation of the show. Here again you need people witha high degree of showmanship, plus a knowledge of tele-vision techniques, and of the scope and limitations of thecamera. You need people aware of visual tricks, who canget the most out of every camera shot and out of everyscene. Good idea might be in specialization of types ofproduction - assigning one director to news and specialevents, another to dramatic shows, another to music anddance programs. Interchangeable with his duties could bethe responsibility for selecting musical backgrounds forall programs.

The number required in this category is again closelytied in with the programming aims of the individual sta-tion and the type of show they will present. With theamount of rehearsal time necessary for a smooth show,economizing on this end of the programming schedulewill show up where it hurts most - on the home viewers'screens.

All scripts, except those written especially for televi-sion, require adaptation to the medium. Script writersmust know television techniques, must understand thelimitations of the camera, the time required for costumeor make-up changes, the problems of settings, studio spacelimitations, etc. It is their job to turn out a script that

permits the continuous performance necessary to tele-vision.

A studio director, responsible for stage business, sched-uling rehearsal facilities, stage settings and the otherproblems related to smooth, behind the scenes operation,is also included in personnel lists. Here again the numberof assistants depends on the individual set-up of thestation.

A scenic designer is needed to plan the designs andstage settings and to work with the producer in executingthe staging so as to tie in with the action of the script.Dependent again upon the scope of programming wouldbe the number of assistants necessary to paint flats, etc.At least one property man and a carpenter, plus two stagehands would be required to set up and store the sets.As programming increases, animators, costumers, make-up artists will probably be added. A list of suggested per-sonnel follows:

Executive program directorStudio director and assistantFilm editorField program director and assistantProducers - DirectorsWriterScenic designerProperty manCarpenterStage handsAnnouncer

That this end of the staff will grow is certain, for sta-tions will develop their own additions as programmingscope increases.

Business DepartmentNeedless to say, the success (other than artistic) of a

station will depend on its ability to return a profit.Though the programming and technical departments cancontribute by skillful and economical operation it is upto the business department to bring in the revenue. Head-ing this very important task is the Sales Manager whosefunction is to sell his station's time. It is his job 'to seeto it that those who control the advertising dollar (adver-tising agencies, company executives, etc.) are made awareof the value of the medium he has to sell. When the dayof large television audiences is here, he will be fortifiedwith details as to his coverage, etc. which means he willneed the assistance of research, publicity and press per-sonnel.

The business set-up in television differs little fromother fields. A station manager is needed to handle thedetails of operation, and must hit a course between theartistic needs of the medium and the cold dollars andcents involved. Salesmen, accountants, typists, secretaries,guards, chauffeurs, ushers or office boys, are all necessaryto the paper work of any station.

Common SenseIt's just plain common sense that the better staffed a

station is, with personnel qualified for the jobs they hold,the more popular their call letters will become. The ulti-mate success of a station will rest with the audience -and the audience judges its standards solely by the showswhich they will see on their television screen.

Prospective television operators must realize that pro-gramming is show business - visual show business. Inmost cases, personnel will have to be drawn from thetheatre and Hollywood. The technical operations must bein the hands of capable engineers, and the business endhandled by good administrators. All three are mutuallydependent upon the performance of each other.

March, 1946 9

TELEVISION OUTLOOK IN DETROITNinth in a series of articles on video applicants in major cities. Due to

recent withdrawals, Detroit only has four bidders for its five channels.

By GILBERT WINFIELD

4THE ARSENAL OF DEMOCRACY" during the war,and America's fastest growing city, Detroit has a

population of over two million. Six local organizations,with an eye to that large number of consumers, appliedfor the five channels which the FCC has allocated. Now,however, with the hearings set to decide the final winners,International Detrola Corporation and WJR, The Good-will Station, withdrew their applications. This leaves butfour applications for the five channels - and the FCC isspared the headache of making a decision.

Interestingly enough, all four of the applicants in De-troit are local interests, though some do have ties withother organizations. The Evening News Association; theKing-Trendle Broadcasting Corporation, the Jam HandyOrganization; United Detroit Theatres are all located inDetroit.

The Evening News Association

Address -615 West Lafayette Boulevard, Detroit, Mich.

Estimated Costs1. Vis. transmitter $22,0002. Aural transmitter plus tubes 13,7503. Antenna System 10,0004. Studio Equipment 8,8005. Studio Lighting6. F & M Monitors 3,5007. Land8. Building9. Other installation 5,000

Estimated Total Costs $63,050

Equipment-General Electric (except antenna system)Financing-existing capitalCost estimate by -G.E. estimatesChannel-#1Kilocycles -50,000-56.000ESR-2480

AntennaHeight, sea level --1235 feetHeight, ground level -631 feet

Location -90 foot mast on Penobscot Building, DetroitPower, aural and visual--aural-2 kw.; visual 4 kw.Population -3,755,920Location of Studio-Penobscot BuildingEngineering Consultant-Ring and Clark, WashingtonMisc.-Operates WWJ. AM. and WENA, FM. in Detroit.

Publishes Detroit Daily News.

The Jam Handy Organization

Address -2821 East Grand Building, Detroit, MichiganOfficers-Jamison Handy, PresidentEstimated Costs

L Vis. transmitter $25,0002. Aural transmitter plus tubes 15,0003. Antenna System (included in items 1 and 2)4. Studio Equipment 50,0005. Studio Lighting 10,0006. F & M Monitor (included in items 1 and 2)7. Land8. Building9. Other item

Field Equipment 35,000

Estimated Total Costs $135,000

Operation Costs per month-$12,500 (monthly revenue isestimated at $15,000)

Financing-$100,000 existing capitalCost estimate by-applicant, based on RCA estimatesEquipment-RCAChannel-#1Kilocycles -50,000-56,000ESR-1940Hrs. per wk. of operation -4

2 hours studio production)Breakdown-no outside pick-up

2 hours filmTransmitter location -1249 Washington Boulevard.

Detroit, MichiganPower, aural and visual-aural-3 kw.; visual -4 kw.Population -2,215,400Size of area-primary, 318 square miles; secondary. 1670

square milesEngineering Consultant-Applicant's engineersMisc.-Applicant is engaged in motion picture film,

camera and projection equipment-operation andrating of theatres.

King-Trendle Broadcasting Corporation

Address -1700 Stroh Building, Detroit, MichiganOfficers-George W. Trendle, PresidentEquipment-RCAChannel-#2Kilocyclfs-60.000-66.000ESR-1548Antenna

Height, sea level -1029 feetHeight. ground level -409 feet

10 Television

Location-present standard band WXYZ lattice towerTransmitter location -15500 Joy Road, Detroit, MichiganPower, aural and visual-aural-3 kw.; visual -4 kw.Population -2,272,433Size of area -483 square miles-primary; 1920 square

miles-secondaryLocation of Studio -8415 East Jeff,. -.in Avenue. DetroitLawyers Segal. Smith and Hennes- . WashingtonUnited Detroit Theatres CorporationAddress -1600 Stroh Building, Detroit, MichiganOfficers-E. J. Hudson, PresidentOwnership-controlling stock (74.35(;; ) owned by Para-

mount Pictures-remaining 25.65% owned by Bala-ban & Katz (Paramount Pictures subsidiary)

Estimated Costs1. Vis. transmitter $30,0002. Aural transmitter plus tubes 20,0003. Antenna System 15,0004. Studio Equipment 60,0005. Studio Lighting 5.0006. F & M Monitors 1.2007. Land8. Building9. Other item

Engineering fees andconstruction 50.000

Estimated Total Costs $181,200

Operation Costs per month -810,000Financing-existing capitalCost estimate by-DuMont LaboratoriesEquipment-DuMontChannel-#4Kilocycles -78.000-84,000ESR-800Hrs. per wk. of operation -16

Breakdown-outside pick-up -28 hours)studio production -60 hours) monthlyfilm - 8 hours)

Antenna

Height, sea level -872 feetHeight, ground level -270 feetLocation -12 story brick and steel office and theatre

buildingTransmitter location -2111 Woodward Avenue. Detroit,

MichiganPower, aural and visual-aural--2 kw.; visual -4 kw.Location of Studio -2111 Woodward Avenue, DetroitMisc.-Balaban & Katz and Television Productions, Inc.

(also a Paramount subsidiary1 operate W9XBX,WBKB and W6XYZ. Los Angeles. W9XBK and

IIKB. Chicago.

Black lines indicate both the primary and secondary coverage in Detroit area which can be given by a25 kw station, assuming that the antenna is 500 feet high and located in the center of the business district.Dotted lines indicate the trading area. Contour map, courte* of Allen It. Dupont Laboratories, Inc.

March, 1946 11

BambergerWashingtonPresentation Here is how one applicant presented his plans and

qualifications for a station before the Commission.

AN informative guide to aspirants for television stationsis this digest of the Bamberger testimony presented

before the FCC in the recent hearings to choose the Wash-ington, D. C. stations.

Bamberger's testimony was contained in 112 pagesbound and indexed. It was divided in these seventeensections:

IndexSection Description

I. R. H. Macy and Company, Inc, and Subsidiary Com-panies Consolidated Balance Sheet.

II. Bamberger Broadcasting Service, Inc. Combined BalanceSheet.

III. Radio Stations Owned and Operated by the Applicant.IV. Organization Chart for Television Operations.

V. Operating Expenses.VI. Cost of Equipment, Construction and Installation.

VII. Transmitting Station and Tower, Architects' Plans, Sketches.VIII. Engineering Department Technical Equipment Chart.

IX. Engineering Department Organization Chart.X. Technical Personnel, Engineering

XI. Qualifications of Technical Personnel.XII. Program Department Organization Chart.

XIII. Chart - Classified Program Breakdown of Weekly 28 -hourSchedule.

XIV. Program Schedule. Monday through Saturday.XV. Television Programs Presented to Metropolitan New York

and Schenectady Audiences.XVI. Television Zoning Publicity.

XVII. Technical Data, Map Showing Coverage and Population.

To prove their financial strength, complete balancesheets for both R. H. Macy, the parent company, and itssubsidiaries, and the Bamberger Broadcasting Companywere presented. The consolidated balance sheet of R. H.Macy and its subsidiaries, as of July 28th, 1945, revealeda total stock and surplus worth $62,348,200. The com-bined balance sheet of Bamberger showed a total capitaland surplus on December 29th, 1945 of $1,184,573.

Operating ExpensesInteresting was Bamberger's estimated annual operating

expense of $547,308 based on a 28 -hour programmingweek. The estimate was divided into the following sixcategories:

Operating Expense - SummaryI ir.t 1 ear of Operas'

(28 Hours of Programming per Week)Item 1 - Selling $ 6,500

2 - Publicity 3,5003- Promotional Advertising 3,0004- Technical Department 174,3205 - Program Department 312,8606 Administration 47,128

Total

Salad $6,500Total 86.500

Item 1Selling Expense

$547,308

Item 2Publicity Expense

salary (Clerical) $2,000Overhead

Program Printing 1,500Total Publicity $3,500

III 3Promotional Advertising Expense

Promotional A,1%,tti.,ilisTotal Advertising

ItilIl I

Technical ExpenseSalaries (See Engineering Organization Chart) -

$3,000

Asst. Chief Engineer, 1Asst. Supervisor - Transmitter, 1Asst. Supervisor - Studios, 1Asst. Supervisor - Technical Facilities,

$ 8,0006,7006,700

1 6,700Asst. Supervisor - Field Department_ 6,700Transmitter Engineers, 2 at 4,100_ 8,200Video Control Engineers, 6 at 4,100_. _ 24,600Video Camera Men, 4 at 4,100 16,400Light Control Engineers, 2 at 3,000__..._ 6,000Audio Control Engineers, 3 at 4,100...__ 12,300Film Control Engineer, 1 4,100Maintenance Engineer, 2 at 4,100 8,200Chauffeur, 1 3,000

1,820Clerical, 4 at 1,600 6,400

Total Salaries $125,820Overhead -

Light, Heat and Power $ 9,000Vacuum Tubes 3,500Engineering Supplies 3,000Professional Services 1,000Repairs and Maintenance 2,000Transmission Lines' 30,000

Total Overhead $ 48,500Total Technical Expense $174,320

Item 5

Program Department ExpenseSalaries (See Program Department Organization Chart)

Director of Programs $ 7,500Production Director. 2 at 3,900 7,800News Director _ 3,900Special Features Director 3,900Asst. to News Director. ........... ._.__.__ 1,820Asst. to Special Features Director..__..._ 1,820Asst. to Production Directors, 2 at 1,820 3,640Writer, 2 at 2,600 5,200Program Coordinator 5,000Art Director' 3,900Sound Effects Technician 2,600Motion Picture Cameraman......_ _._3,900Asst. Motion Picture Cameraman 2,600Film Laboratory Technician.......___ 2,600Scenic Design Assistant 2,600Scene Shifter _ 1,820Costume and Make-up t a t _ 2,600Animation Assistant 1,820Ex. Secretaries, 2 at 1.820 3,640Clerical, Typists. etc., 6 at I. am) 7,800

Total Salaries $ 76,460Cost

per week - 28eekly Cost $4,200) _ .... _..._..._ $218,400

Total Program Cost $218,400

* Estimated yearly cost of the New York, N. Y. to Washington,D. C. coaxial transmission line, $60,000. This cost to be shared equallyby both stations.

I 2 Television

Royalties -Special Features 15,000Music 3,000

$ 18,000

Total Program Department Expense $312,860

Item 6Administration and General Expense

Salaries -Manager $ 7,500Clerical 2,400

Total Salaries $ 9,900Overhead -

Office Supplies ....... . ..... $ 2,000FOAB and Emp. Ins. 4% of Salaries 8,828Carfare and Travel 5,200Entertainment 2,600Insurance 600Taxes 18,000

Total Overhead $ 37,228Administration Total $ 47,128Personnel

A comprehensive analysis of all personnel needed forthe operation was included in the organizational chartsreproduced here.

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Organization Chart for T, levision Operations

To back up their claims of a competent technical staff,forty-six pages of detailed qualifications and the part ex-perience of twenty-six of their engineers was presented.

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Cost of Equipment, Construction and InstallationA total of $503,400 was given as the cost for equip-

ment and its construction and installation. Breakdown ofthese costs was shown as follows:

Item I

Transmitting Plant - CostLand:Acquiring Land (including legal fees,

architects' surveys, and engineer-ing surveys) $ 65,000

Total Land $ 65,000Building:

$ 50,000Total Building $ 50,000

Technical Equipment:Video Transmitter $ 61,500Aural Transmitter 28,000Antenna System 15,000Frequency and Modulation Monitor.. 5,400

Total Technical Equipment 8109,900Installation of Equipment $ 13,500

Total Installation 8 13,500

TOTAL COST 8238,400Item 2

Studios and Offices - CostConstruction:

Studios 12 Studios) $ 60.000Offices 20,000

Total Construction $ 80.000Equipment:

Studio Technical Equipment includingcameras, microphones, film scan-ners, video and audio consoles,maintenance equipment, etc $ 85,000

Studio Lighting 20,000Office Furniture and Fixtures 20,000

Total Equipment $125,000TOTAL COST $205.000

Item 3Field Equipment - Cost

Field Equipment 1o.000

Tudat Field F.quit nt $ 60,000

March, 1946 13

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Programming plans were outlined in ten pages andincluded a breakdown chart of a weekly 28 hour scheduleand descriptions of each program throughout the week.

4IMMO

PROGRAM CLASSIFICATIONmmIER OF

PERIODS

FIR WEEK.

LENGTHOF EACHPERIOD

TOTALTIME

PER WEEK.

PERCENTAGEOF

TOTAL TIME

I OFFICIAL WEATHER REPORTS 7 5 M.N. 35 um 2.072 EDUCATIONAL T 6 IS..... 1 .. 30 mu. 5.363 SHOPPING SERVICE 6 15 MIN I INII. 501.II. 5.364 HOME ECONOMICS 6 15 .... I MN 30... 5.36

5 COMMUNITY SERVICE6 IS MIN I .. 30...

9.633 25 .11.1 I Ha. ISM...

13 IS wow6 NEWS 3 ...45.. 13.40

1 30... .7 SPORTS 3 2 5 .IN. I NR. IS .... 4.478 SELF EDUCATIONAL 6 30.... 3... 10.719 EDUCATIONAL FILMS 6 30... 34.E 10.71

10 CHILDRENS SHOWS I 45 um 45..... 2.68ENTERTAINMENT I 21 him

II AUDIENCE PARTICIPATIONQUIZ SNOWS -DRAMA 12 30.... 7 ora2S1.11.1. 26.40MUSICAL VARIETY -COMEDY 1 114 R.

12 RELIGIOUS SERVICES 1 I HR. I ... 3.57TOTALS 79 28 Has. 100.00%

ADDITIONAL PROGRAMMINGMAKING TELEVISION SERVICE AVAILABLE OVER AND ABOVE THEREGULAR SCHEDULE AS EVENTS OF PUBLIC INTEREST OCCUR.

FROM WASHINGTON FROM NEW YORK13 GOVERNMENTAL FEATURES 16 DRAMATIC PRODUCTIONS

EVENTS OF NATIONAL SIGNIFICANCE SUCH AS. MACHO AVAILABLE THE OUT -A -CRIESIDENTIAL INAUGURATIONS AND SPEECHES STANDING TALENT FACILITIESB- CONGRESSIONAL HEARINGS. OF NEW YORK TO WASHINGTON.C- GOVERNMENTAL MEETINGSD- ADMINISTERING OATH OF OFFICE TO HIGH OFFICIALS

17 SPECIAL FEATURES(TO BE PRESENTED TO N.Y AUDIENCES ALSO) BRINGING TO WASHINGTON

SUCH OUTSTANDING EVENTS AS.14 SPECIAL FEATURES A - INTERSECTIONAL SPORTS CONTESTS

A- TELEVISING OF PAGEANTS AND FESTIVALS B - CELEBRITY ARRIVALS.B- DIPLOMATIC RECEPTIONS. C - PUBLIC DEMONSTRATIONSC- COMMEMORATIVE EVENTS. D- PARADES AND CONVENTIONS

(TO BE PRESENTED TO NV AUDIENCES ALSO)

IS EDUCATIONAL FEATURESFACILITIES WILL BE MADE AVAILABLE TO EDUCATIONALORGANIZATIONS FOR SCHOOL AND NOME PRESENTATIONS.

Classified Breakdown of Weekly 28 -Hour Schedule

Here's what Bomberger proposes for a typical Monday toSaturday schedule:

Daytime Program Schedule

11:00 - 11:15 A.M.Home

Economics

11:15 - 11:30 A.M.Shopping

Service

FOOD FACTS -A real "what -to -buy,""how -to -cook -it" "Tele-Menu" for today.Food economics, dietetics and cookingschool all rolled into one as a public serv-ice to Washington's housekeepers. (Tele-t ested )

LET'S GO SHOPPING - Milady Washing-ton in the comfortable surroundings of herown home, can browse through speciallyselected items daily. Brief demonstrationswill be given together with full informationon prices, delivery, and ordering instruc-tions. Here, truly, Washington's home-makers will often get a more complete anddetailed analysis of an item than theywould at a crowded store counter. Best ofall, if you see something you want - justtelephone. Our trained shoppers will placeyour order.

11:30 - 12:00 NoonSelf Educational

12:00 - 12:30 P.M.Educational Film

12:30 - 12:45 P.M.Educational

12:45 - 1:00 P.M.News

THE WASHINGTON WOMAN'S WORLD-A daily fashion show - how to dress,how to care for Junior, how to sew, knit,crochet, serve tea, play bridge, entertain,decorate your home, and other useful sub-jects, together with personality interviews.(Teletested)

FILM FACTS-Official travel film fromembassies, educational and documentaryfilms from the Department of Agriculture.the U. S. Office of Education, etc. (Tele-tested)

LET'S VISIT -A Cook's tour of Washing-ton - for Washingtonians. Yes, "Let'sVisit" every place and everyone of interestfrom the Mint to the White House, fromGovernment to Foreign Embassy Officials.Sure you live in Washington, but chancesare you'll see places and faces you've neverseen before through the ever -roving eye ofour "Let's Visit" television cameras.

NEWS AND THE MEN WHO MAKE IT- Actual telecasts of Washington news ofa broad and inclusive nature in which therewill be such pertinent and entertaining fea-tures as officialdom in action, combinedwith animated maps and commentary, plusstill and motion pictures featuring news ofnational and international interest.

Nighttime Program Schedule7:30- 7:45 P.M.

News

7:45 - 8:00 P.M.Community

Service

8:00 - 8:30 P.M.Entertainment

8:30 - 9:00 P.M.Entertainment

WASHINGTON TELEGROUND - News"round -the -nation" and "round -the -world,"still and motion pictures, animated mapsand pictographs combined with occasionallive on -the -spot inserts concerning, localWashington affairs, accompanied by ac-credited commentary - sports included.

IT'S UP TO YOUTH - Pro and con viewsof Washington High School and Collegestudents on problems of the day.

FEATURE LIVE DRAMATIC PRODUC-TIONS such as:Brownstone Theatre-The famous plays ofyesterday. (Teletested)The Sealed Book - Astounding tales of theweird and supernatural. (Teletested)Special Investigator - Modern mysterieswith a message and fast -paced action solu-tion.Famous One -Act Plays -The best thetheatre has to offer in comedy, love, adven-ture, and melodrama. (Teletested)Just Five Lines - The story behind thestory that is buried in "Just Five Lines" oftype.Leave It To Mike - Farce, comedy, drama- the misadventures of Mike McNally.These and other fine live dramatic produc-tions will originate from our New Yorkstudios.

FEATURE LIVE VARIETY PROGRAMSsuch as:The Better Hall -A quiz to answer thateternal question -"Which is the BetterHalf - the husband or the wife." (Tele-tested)Deadline Dramas - Out of the mailbagcomes a situation to be brought to a con-clusion by an extemporaneous dramatiza-tion by our cast who are permitted oneminute to prepare a complete story.Dress Rehearsal - Behind the scenes in anactual rehearsal of a forthcoming produc-tion.Twenty Questions - The old childhoodgame of "Animal, Vegetable or Mineral"in modern dress, board of experts and all.Stairway to the Stars - Amateurs get achance to act a part with their favoritestar:. of stage. screen and radio. Winners

14 Television

9:00 - 9:45 P.M.(or later)

ConununityService

receive professional television engagements.Opinion Requested -A forum type ofshow in which the public asks a questionon a problem of the day and the expertsanswer to the accompaniment of someheckling by the audience who have theright to disagree.These and other live variety programs willoriginate from our New York studios.

WASHINGTON BY NIGHT-The publicknows only by report the many importantand interesting events that are available toWashingtonians every evening. This pro-gram will serve the public by bringing suchhappenings into their homes. The varietyis great. Many types of sports events, in-cluding basketball, hockey, boxing, wres-tling, and bowling, to name a few, may betelecast. Important meetings may be trans-lated into the home. Social functions, bothofficial and unofficial, will help to round outthe multi -colored picture of the' Capitol'snights. This series will be timely, instruc-tive. entertaining, and often of genuineservice to people in their daily lives.

9:25 - 9:30 P.M. OFFICIAL V'EATIIER REPOORT - Use -Official Weather ful meteorological information, presented

Report with animated charts, making up a pro-duction that is not only Of immediate serv-ice to every listener but also educationaland entertaining.

Bamberger then gave a list and description of all pro-grams that they produced over WRGB (GE) and WABD1DuMont). And to make sure that the Commission knewof all their efforts to secure permission from the zoningboard to 'erect a television transmitter and tower, Bam-berger included reprints of newspaper stories describingthe zoning hearings.

Finally they presented a series of maps and graphsprepared by George C. Davis, consulting radio engineer,showing the computed contours for their proposed station.Planned coverage showed that with the 5000 microvolts/meter contour, an area of 975 square miles and a popula-tion of 907,776 would be served: with 500 microvolt/meter contour, this is increased to 4.350 square miles anda population of 1,145,079.

Contour map showing coverage %hid' %. ill beg i% ell It. the Bomberger station in Washington.

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March, 1946 I5

Operating a Small Local StationInformation on providing a desirable programming service, while keepingoverhead costs, personnel and equipment requirements down to a minimum.

By SAMUEL H. CUFFStation Manager, WABD

ALTHOUGH there have been no applications filed yetfor a community television station, from the long

range point of view there probably will be many suchstations, with programming content keyed to attract spe-cialized groups.

However the majority of tele stations who start operat-ing within the next few years will find themselves in muchthe same position as the later community stations will.Under the present FCC rulings, a community station isdefined as a local operation under controlled powerand/or antenna height, limited in coverage so that it doesnot conflict with similar community stations in nearbyareas. Its function is to serve a clearly defined community.

In these pre -network days, with only Washington toNew York to Schenectady linked up, the so-called metro-politan stations are limited to the same function.

Thus many of the problems which will apply strictly tocommunity stations in the future are now common to allstations.

Planned ProgrammingUnder the current FCC rulings, tele stations will have

to operate a minimum of 28 hours a week, at least twohours each day, in order to maintain their franchise. As abusiness investment and a service, programming for sucha station must be carefully and thoroughly planned sothat it:

1. Performs a valid and desirable service in its com-munity.

2. Has rehearsal and broadcasting time scheduled tofit practical conditions under which the facilities of thestation may be operated and the requirements of pro-gramming met.

3. Holds its audience against competition of other tele-vision stations and other types of entertainment availableto the home.

4. Gives advertisers generous returns from their in-vestments.

The circumstances under which the small metropolitanor community station is operated will largely determinethe nature of its programs. If the broadcaster is in a largecity competing with large metropolitan stations, for ex-ample, then his greatest advantage would probably comefrom throiving strictly community interest materialagainst the general programming offerings of the largerrivals.

Local news of all sorts should be brought to the audi-ence through this station's facilities. Educational sub-jects would be a fairly substantial portion of the station'sfare because of the great community good will that suchprogram matter has when prepared in an engrossing, andentertaining manner. Films, too, will necessarily be usedhere to equalize the strength of this station in holdingaudiences despite the opposition of larger stations servingthe area. A movie using the more prominent names in theentertainment world will be stronger than run -of -the -minelocal talent in backing the more elaborate and expensiveprograms most likely to be served up by the larger localstations.

If, on the other hand, the broadcaster has no competi-tion from other stations, his planning must be consider-ably altered. It must be altered to the extent that heassumes the responsibility of offering audiences a morecomplete television service, with national coverage as wellas local. It may be modified because he is released fromthe expensive need of competing with "name" materialto woo his audience. This station also has the job ofbringing local events and personalities of importance intothe television homes of its region. It serves substantiallyas a marketing instrument of local merchants, but it alsosupplies national advertising material, to audiences. It isa lively form for audience participation shows and itsfilm programs may be selected to fit the particular mar-ket's taste with comparative disregard for other factorsthe rival -beset station must consider.

Hypothetical ScheduleI have asked Louis A. Sposa. Program Manager of

WABD, to present a hypothetical day's schedule of a smallstation with a single studio broadcasting for four hours.Factors that he considered in this schedule are the desira-bility of accomplishing the necessary rehearsals andbroadcasts within an eight -hour working day and theallowance of time for changing sets. For this, he chosetwo programs requiring rehearsals, two that are morespontaneous in presentation, say an interview with celeb-rities and an audience participation program. and a num-ber of film shows.

12 noon to 3 p.m. Rehearsal for program No.13 to 4 p.m. Strike set for No. 1. set up

for No. 24 to 7 p.m. Rehearsal for program No 27 to 7:30 p.m. Broadcast of program No. 27:30 to 8:30 p.m. Strike set for No. 2. set up

for No. 1 while featurefilm is being shown

8:30 to 9 p.m. Broadcast of program No. 19 to 9:30 p.m. Set up for No. 3 iaudience

participation) while filmshort is being shown

9:30 to 10 p.m. Broadcast of program No. 310 to 10:30 p.m. Set up for No. 4 inter-

views) while film shortis being shown

10:30 to 11 p.m. Broadcast of program No. 4The reason for putting the two programs requiring

rehearsal ahead of the two that do not is that chancesare these are the more elaborate of the programs offeredthat evening and they are presented at the time of thelargest and most profitable audience. Also they are theones most likely to require the most involved settingsand this system permits the installation of such sets witha minimum of time lag.

Cost FactorsOperating costs and revenue to be derived from the

television station cannot he set down in any dogmatic(continued on page 18)

16 Television

DRAMA'S PLACE IN TELEVISIONBy HARVEY MARLOWEAmerican Broadcasting Company

ONE -ACT plays will certainly now attain a new-foundimportance and final recognition in the television

medium. Until lately, this type of play was almost solelyconfined to the amateur stage, although a few sporadicattempts have been made to bring an evening of it toBroadway. The public has made little or no effort to pro-mote their showing for the stigma of amateur presentationhas too long been associated with them.

One of radio's great contributions was to begin to indi-cate the value and importance of the half-hour dramaticvehicle. It was left to such writers as Corwin, Obler andothers to really make the transition from stage to radioin a truly individual style. It was men like Corwin andObler who first realized that it wasn't sufficient merely totranspose a play from stage to radio, but that there wereboth advantages and disadvantages in this new medium.It was only after such men had begun to write specificallyfor this new art that the radio thirty -minute play cameinto its own.

All of this indicates one thing . . . that the sooner werealize this, and begin to write for television as a com-pletely new art medium with a full understanding of itslimitations and advantages today, only then will we bematerially aiding the pioneering of television programs.

A number of adaptations of three -act plays have alreadybeen presented on television . . . some successfully andothers that left much to be desired.

Certainly television should not be limited to half-hourdramatizations . . . and there is no doubt that therewill be a great demand for adaptations of successfulBroadway shows.

It is a lazy way out, presenting an already successfulproduction in another guise. Even in an excellent adapta-tion the producer limits himself to a vehicle that wasnever originally intended for television. Surely, the vast,and as yet so little explored, potentialities of televisionshould be stimulating enough and worthy enough of acompletely fresh start.

While television offers many advantages to a producer,it also presents a great many disadvantages to the tele-viewer, whose habits have been largely attuned to radiowhich permitted a certain amount of movement aroundthe house and a minimum of concentration . . . televi-sion demands a much closer attention. A three -act dramamay be placing too much of a strain on the attention andconcentration of the television audience.

One -Act PlaysHowever, it is the one -act drama with which I am pri-

marily concerned, not adaptations . . . and the seriousexploitation of this, as yet, embryonic art.

One -act plays have long been the core of many of thethree -act plays produced on Broadway. A one -act play islike a Readers' Digest condensation of a long and thinlydrawn-out article. There is no room for irrelevancies.The time limitations make for a directness and concise-ness which, unfortunately, is sometimes lacking in alonger work. However, in a one -act drama, all the forceand power of a playwright's imagination can be impactedinto the thirty minutes of playing time.

Although each medit..-.n . . . stage . - . screen . .

radio . . . and television - .,. have certain limitations tocontend with, each in turn has advantages over the other.There must be an exploitation of the advantages of tele-vision if that medium is to realize its potentialities.

How does the new theatrical baby stand in comparisonto the granddaddy of the theatrical arts . . . the legiti-mate stage? The Broadway stage seems at the presenttime, to be almost totally lacking in ingenuity and inven-tion. It is bound with a commercialism which deals onlywith the known formula for success . . - whereas televi-sion is growing with the youthful vigor of experiment.

Technically, the newer medium has answered for itselfsome of the stage's oldest problems. In the legitimatetheatre, the matter of changing sets has usually causedsome delay; breaking up the continuity of the story, aswell as the suspense and the interest, by projecting itsaudience back into reality as the lights go up for inter-mission. A few moments of intermission is long enoughto give an audience its chance to think along logical linesonce more, and a play which should have been judgedas a whole, is examined piecemeal and usually foundwanting.

Continuous ActionIn television, this break-up is avoided. Even in the

smallest of studios, six or more sets can usually be riggedup. Instead of having a curtain drop in front of a play'saction, or calling an intermission for a few minutes, thecamera simply pans from one set to another, thus insur-ing continuous action, and no interruption to any sus-pense that may have been built up.

One of the major cost factors in both movies and thetheatre has been the elaborate and pretentious sets. This

Harvey Marlowe (in white shirt) is shown at the controls in the WABBstudio. Paul Mowery. television director of ABC:. is standing at the right.

has been necessary due to the all -encompassing eye of themovie camera and the wide expanse of stage from pros-cenium to proscenium which must be furnished in detail.However, in television, the small size of the screen hasdemanded for successful production, the use of at leasteighty per cent of close-ups, thus immediately cuttingdown the need for huge sets that the movies and theatrehave employed.

Radio vs. TelevisionHow does radio stack up against television? Television

will merely supplement radio, never completely supplantit . . . television has its own advantages, but it can alsoborrow most successfully from radio. Radio, being sucha highly imaginative art, the power of suggestion hasfrequently been used to startling effect on its audience.The comparative elements here are sound plus sight.Radio has at times, made extremely effective use of sound

and the imaginative pictures that a voice can conjure upin the mind of the listener. Sound effects have been usedto create astonishing illusions. Radio has been so com-pletely chained to sound, however, that its engineers havenever allowed more than a few seconds of silence on theair. On the other hand, television will utilize silence tobuild and greatly enhance moments of suspense andeffect.

The screen and television seem to be the most closelyrelated of all the theatre mediums. Present indicationspoint to their furnishing each other with material. Theirbasic difference seems to lie in the problems of distribu-tion, in cost and in time. From the technical limitationsof television, it would seem that the one -act play is bestadapted to its medium, while the longer work belongs tothe screen. Is it not conceivable that in time, the moviesmay find in the shorter television drama a source of mate-rial and a proving ground for its own longer productions?

Operating a Small Local

manner. Payrolls, power costs and sustaining programcosts are different with almost every station. The variousstations will need or desire facilities of varying scope.As remote piCk-up equipment and networks become in-creasingly popular, new factors will affect the validityof any figures chosen at this point. Therefore, the follow-ing cost and revenue estimates must necessarily be con-sidered little more than a general idea of the economicsaffecting the small metropolitan or community station.

Let's first consider the equipment' involved and theirapproximate pre-war prices:

Two DuMont studio cameras with pushdollies and DuMont studio control desk $ 23,000.00

DuMont master control board 35,000.00Studio lighting and audio equipment ......... 10,000.0035mra. special film projector 6,000.0016mm special film projector 2,000.00DuMont film pick-up camera 3,000.00DuMont transmitter 5 kw peak video and

equivalent peak audioSuitable antennae with supporting tower

located on same buildingSpares and test equipment

Sub Total

36,000.00

7,500.0013,000.00

$135,500.00Apart from the technical equipment required, assum-

ing that the prospective broadcaster already has madearrangements for the necessary land and building tohouse operations, -there are certain very flexible equip-ment and installation costs to be considered. Figureson these will vary appreciably in different cities, but ahypothetical set might run:

Installation of television broadcastingequipment $10,000.00

Structural alterations, electrical wiring,. studio soundproofing, etc. 15,000.00

Fireproofing of film projection room 1,500.00Furniture, fixtures and decoration 10,000.00

Sub Total $36,500.00These two sub totals bring the total initial capital in-

vestment to $172,000.00.These figures, we must stress heavily, represent a hypo-

thetical operation, but they do serve as a starting pointfor the prospective station operator's thinking alongexpense -and -revenue lines. Some may need more filmfacilities. Some may have sufficient local outdoor activity

Station (continued from poge 16)

to necessitate remote pick-up equipment. A second studiomight prove important in a fairly large city. The figuresand equipment must be selected to fit the individual setof circumstances.

Personnel RequiredTo operate on the schedule described previously, with

the equipment we described, would require a studio andtechnical stall of about 12 persons. Studio personnel, insome cases, could be used on mobile equipment if thatwere added to the facilities, since remote and studioprograms would be aired at different times.

Revenue would come from two sources. The first isrehearsal time, the rate per hour to be fixed on a ratiowith cost of operating the studios, paying the crews andpaying for capital invested in the studio.

The second charge is for air time. This is contingenton circulation. It will not correspond with such chargesfor radio and for printed media, however. Factors foreignto these other media enter in when considering television,and many of these concerning the older media apply totelevision in a slightly revised form. Among such factorsare:

1. Number of listeners per set.2. Average income of the audience available in the

community.3. "Pulling power" of the individual stations - the

audience developed by its sustaining programs,local popularity and programs preceding and fol-lowing the time sold.

4. Comparative effectiveness of television alongsideother media. Accepted figures of the past have hadit that television was 10 to 11 times as effective asradio and newspapers in influencing public opinion.It remains for more controlled and prolonged teststo indicate whether these figures are optimistic orconservative.

5. Type of audience - men, women. children - inrelation to products advertised.

Of course all of these factors won't be listed in therate cards, but they will help in determining for thebroadcaster just what the traffic will bear fairly.

Certainly there is no reason why the small metropolitanor community station, with its comparatively modest in-vestment and its close -to -the -operator audiences, shouldnot show a reasonable profit to the broadcaster.

18 Television

ONE MAN'S REFLECTIONSA regular monthly feature by DR. ALFRED GOLDSMITH

Should Television Have Studio Audiences ?

A RATHER disconcerting situationhas arisen in television develop-

ment, insofar as studio planning isconcerned. Some of the prospectivetelevision broadcasters, or rather thearchitects who serve them, have of-fered studio plans which are extraor-dinarily complicated. Movable studioswith adjacent public audiences haverequired the introduction of elabo-rate mechanical and electrical equip-ment which would probably be space -consuming and of costly nature. Itseems timely to ask the fundamentalquestion: Should there be any televi-sion studio audiences? If so, whatshould be their character?

Illusions DestroyedIn a fundamental respect, the idea

of public audiences "behind thescenes" is entirely contrary to the tra-ditions of the entertainment industry.These industries, as the writer haspreviously pointed out, are funda-mentally sellers of glamour and vend-ors of illusion. As such, the moreeffectively they shatter the illusionsthey present, the less attractive theresulting performance. The motionpicture industry has been well awareof this state of affairs. Despite its airof apparently unrestricted publicity,it rigidly and properly excludes thepublic from the stages on which thefeature films of the future are underpreparation. Efficient and economicoperation is thus secured in the mo-tion picture studios, and the publicdoes not become acquainted with themultitude of devices and tricks whichare used in the preparation of films.

An extreme case of this same ex-clusion of the public is that of thestage magician who under no circum-stances explains his tricks. In fact, tobecome a member of any society ofprofessional magicians, it is first nec-essary to assume a solemn obligationnot to expose the methods by whichany illusion is produced. Further, theethical physician refuses to tell hispatient his latest temperature record-ings lest the patient's condition mightbe influenced. Perhaps televisionshould pay particular attention tothese restrictions since it is certain

that the television art will include theuse of many mechanical and electri-cal tricks which, however effective inthe home presentation, will be dis-concerting and disillusioning in thestudio. Apparently there are manyfields in which a certain degree ofreticence is justifiable and necessary.

Station FunctionsIt is appropriate at this point to

ask: "What are the fundamental ob-jects of a television station?"

1. First and foremost, one objectis to entertain the audience in theirhomes. Unless this is acceptably ac-complished, the station operation iswithout j ustication.

2. A second and legitimate objectmight be to entertain studio audi-ences. But if this is so, will the samesort of performance that pleases thehome audience satisfy the studioaudience?

3. A third possible objective mightbe to provide thrills and prestige tothe sponsor of the television program.We all know how stage-struck someproducers have become after theirfirst contact with the legitimate the-atre. If commercial television is tofulfill its aim on behalf of the spon-sor, it seems important that the spon-sor should regard it as a sober ad-vertising medium rather than a glam-orous field contributing to his per-sonal enjoyment.

Reasons ForThere are a number of reasons why

studio audiences might be justifiablyadmitted. Some of these reasons are:

1. In the first place, it has beenfound that a number of performersin live talent shows are markedlystimulated by the response of the visi-ble audience. They are depressedwhen they perform "into a vacuum"in an empty studio. Yet, the motionpicture field seems to have overcomethis obstacle with a considerablemeasure of success.

2. A second reason for a studioaudience is to enable it to participatein certain types of shows like quizshows, "mind -reading" presentations,and the like, which manifestly require

a visible audience. However, we mayregard the audience, in this case, asreally forming a part of the actinggroup.

3. A third reason for a studio audi-ence is that it enables the advertisingsponsor to acquire numerous friendsby distributing tickets for his variousbroadcasts. In the aggregate, how-ever, the total number of persons thusbenefitted by the sponsor would beextremely small in proportion to theinterested home audience.

4. And finally, the studio audienceprovides a television broadcasting sta-tion with added prestige. If studiotours are thereby promoted, addi-tional revenue is received. In fact, theinteresting question arises whethersome television broadcasters may notseriously consider charging admis-sion to the public for witnessing theirsustaining program presentations ona legitimate theatre basis.

Reasons Againsthere is also a formidable group

of reasons against the presence of astudio audience.

In the first place, the presence ofsuch an audience introduces consid-erable cost and complication into thestage design. There must be addi-tional space, traffic channels, ticketcollecting and control points, space toseat the audience, and ushers to main-tain a reasonable degree of orderli-ness.

Unless the actor and studio staffare completely separated from theaudience by elaborate traffic -controland building -constructional methods,it is likely that complications mightarise by the mingling of two suchdiverse groups.

And it is certain that studio designand operating methods will be farless flexible if a studio audience mustbe accommodated. The placement ofthe audience and the actors and setsmust be arranged in each case withdue regard for the comfort of all con-cerned. This leads to rigidity of thestudio structure and of its operatingmethods.

In some instances absurdities willarise if a studio audience is actuallypresent. The lighting of the set may

(continued on page 35)

March, 1946 19

TALK ABOUT IMPACT! ..Just recently we invited the press to a preview of full color tele-

vision in the ultra -high frequencies. Of rse, we had planned

running an ad on the event. What we hadn t planned was that the

ad should be entirely (and glowingly) written for us. Here's what

the press says about CBS color television.

SAYS "TIDE"

... CBS did not overlook the increased adver-

tising potential of color. A women's style show,

almost meaningless in monochrome, came to

life in color. Even little things, like packages of

cigarettes, do much better when seen in their

familiar colors....

...The significance to the television industry

of last week's demonstration would be hard

to overstate....

The general reaction: "THIS IS IT!"

SAYS THE "DAILY NEWS"

... the demonstraticns prove that 3 great ob-

stacles, once regarded by many as insuperable,

have been overcome. First, CBS is able to

generate sufficient power in frequencies above

300 megacycles to transmit satisfactory color

images. Secondly, it modulates a 10 megacycle

video band, wli id) most authorities said could

not be done. Third, it has eliminated the both-

ersome reflections known as "ghosts", which

have hitherto marred television pictures.

Ultra -high frequency color television, without

annoying "ghost" reflections, is a reality....

SAYS THE "WORLD -TELEGRAM"

CBS color video, in debut, proves beautiful

beyond description.

...The image is sharp, distinct and completely

realistic. Dr. Coldmark has given us a magic

casement, and the vistas it will open should

here's how CBS full color television struck the press

have a profound effect on every phase of the

advertising and entertainment business, not to

mention the arts, letters and sei es. It is amedium that calls for the best in all these fields.

... those who watched the CBS demonstration

feel sure there will be a mad rush to buy tele-

vision sets as soon as the public has a glimpse

of natural color video.

SAYS THE "HERALD TRIBUNE"

There were several new things about thedemonstration. The signal was being trans-mitted in a full 360 -degree arc from the Chrys-

ler Building, rather than in a directional beam;

one transmitter was sending both sight andsound, instead of a separate transmitter being

used for each; there were no multiple reflec-

tions, or "ghosts" on the viewing screen; the

colors appeared real. There was clear definition

in the images as well....

SAYS "TIME"

It was clearly-and colorfully-the most

notable television demonstration of the year.

...The reception, as vivid as a Van Gogh paint-

ing, made black -and -white television look

antiquated....

SAYS THE "WALL STREET JOURNAL"

Television in color is a lot closer than most

people had believed, it was conceded over the

week -end by experts in the industry. . . .

The pictures shown by CBS were clear and

the color contrasts as good as those of the best

color moving pictures....

The CBS demonstration left little doubt that

color television has reached the perfection of

black and white....

SAYS "RM."

The long-awaited press shoving of CBS color

television demonstrated without doubt that

they have achieved a dramatic refinement on

image transmission....

CBS 441112ZCOLOR

TELEVISION''

THE COLUMBIA BROADCASTING SYSTEM

Long Shots And Close UpsA regular monthly feature on film production by H. G. CHRISTENSEN

IF THE Republicans elected anotherPresident, or the cost of living

went down, or the Government bal-anced the budget, it wouldn't causemuch more talk among the populacethan the advent of television hasamong broadcasters, advertisers, FCC,motion picture people, writers, pro-ducers and the others trying to get inthe act.

Even some of our great nationalmagazines are lending their aid to theconfusion by presenting feature boutswith the skeptics of television in onecorner - versus - the optimists inthe opposite corner. An exhibition forthe public of the respective virtues of"I will" and "I won't" or "We can"and "We can't." The only unusualthing about these bouts that I cansee is that there seems to be no refe-ree - you my dear reader - are it.You make your own decision as towho wins and nobody will argue withyou. Nothing like keeping posted.

Regardless of all the theorizing andpractical experience with television, itseems to me whether or not it makesthe grade will depend primarily, ifnot solely, on the ability of the peo-ple working with it to produce showsthat will get and hold audiences, andproduce commercials that will sell theadvertiser's products. And, no mat-ter how good the shows are - or be-come - if they don't bring in thatgood old dollar sales return - youcan put on THE END title.

"Box -Office" Appeal

Even though television is goinginto the home, it's still going to haveto have "box-office" value to get inthere. 'Cause now, ladies and gentle.men, YOU are going to be your owntheatre manager and don't forget it- and when you turns it on, to takeyour choice -I gotta hunch it's go-ing to be what you SEE, more thanwhat you hear that's going to deter-mine WHAT SHOW gets top -billingin YOUR living room theatre when-ever you attend.

So, the show has got to be interest-ing. entertaining and appealing or

you won't look. But, it must also sell.or it won't be there to look at - un-less it's a pure sustaining public serv-ice program or strictly a good -willshow, of 1% hich there aren't enough tofoot the television bill, and probablynever will be. This brings us right tothe business of how to present tele-vision commercials that will sell, andnot offend.

Commercial Technique

And here, it is my belief that muchcan be learned from the movies. Con-trary to some people's opinions, Inot only believe, I know that movieshave and can do a great job of sell-ing; both inadvertently in theatricalpictures, and directly in non -theatricalpictures, to say nothing of sponsoredone-reelers and minute movies whichare being run in thousands of theatrestoday. The selling power of picturesis recognized by every theatre ownerwho runs an announcement trailer onhis screen to sell his forthcoming at-tractions. Some of those trailers runfive minutes and longer, still nobodyseems to object to them. Primarily be-cause they're entertaining. Thousandsof these owner -managers wouldn't runpaid screen advertising, because manyof them are anything but entertain-ing. Still, there are many theatres whowill accept and run paid screen adver-tising if it is produced to entertainand sell.

That is what television commer-cials are going to have to do - enter-tain and create the desire to buy!Commercials of this type are few andfar between and in my opinion it'sdue to radio writers who still try toapply radio commercial technique totelevision commercials. It can't bedone - they're two different breedsof animal.

Here's an example of what I mean.Let's assume we are producing a tele-vision time check commercial for aleading watch company. Sooner orlater we are bound to see a close-upof a bracelet wrist watch on the wristof a charming lady. Now what doesthe average radio writer of commer-

cials have to say about this? He tellsthe audience that "the watch is beau-tifully designed - it is a masterpieceof accuracy - the workmanship is ex-quisite" - and such.

Tell 'Em What They Can't SeeAnd what does the audience want

to know? They can see it's beautiful,that the workmanship they're lookingat, is exquisite. They want to knowif it has a seventeen, nineteen ortwenty-one jewelled movement forthat accuracy; if it is gold, platinum,white gold or just plain gold-filled;and if it is gold is it 14 karat or 18karat; what kind of stones are in thebracelet-diamonds. rubies, emeraldsor what; what does it cost? All ofthese your audience can't see, so whynot tell 'em? If it has a name like"The Lady Godiva" model, tell 'em.You don't know - some gal maywant to buy one and won't know whatto ask the jeweler for, except thewatch she saw on the air last nightwith some kind of stones in thebracelet.

Why waste words on somethingthat can be told better by pictureswhen you can use 'em to greater ad-vantage talking about the things thatcan't be seen and are important tothe product.

This question of which is most pow-erful or longest remembered - thatwhich you see, or what you hear -is of great importance in any mediumcombining sight and sound. I believethat sound is secondary to sight ----surely anyone if they had to choose be-tween blindness and deafness, wouldprefer the latter. Things you see canbe so absorbing and interesting, thatyou hardly hear what is being said.With most people, SEEING IS BE-LIEVING.

Here is an interesting fact. RecentlyI produced two minute movies for anational advertiser which were ex-actly alike in picture content, but withdifferent commercial plugs for the fin-isti. The picture on the screen wasexactly the same for both plugs.When they were ready for screening

22 Television

for the acceptance of the client, thepresident of the company. the vice-president, their radio expert and thevice-president of their advertisingagency were present. I screened bothprints which met with their enthusi-astic approval. But. sez I. which onedid you like best. They're the same,said they. Oh no. sez I. there are twoentirely different commercials in them.This they didn't believe. they hadheard no difference, and the pictureshad to be screened ag&n, not only toprove they were different. but so aselection could be made. The onlyreason that any of those four mencould give for not detecting the dif-ference in what was said in the twocommercials was that they were soabsorbed in what was on the screen,they hardly heard the commercial.WHY, because on the screen duringthe commercial, the product was be-ing shown and demonstrated so in-terestingly that it took all their atten-tion. That's the tremendous impres-sion visual selling can make!

Seeing Is BelievingIt was no accident that the armed

forces speeded up their training 40';on such subjects as radar, bombing,detecting submarines, gunnery andhundreds of other technical subjectsby the use of visual methods. Thereis no better way to make a lasting im-pression on the mind than by picturesthat tell the story, supplemented bythe right words, when and whereneeded. That should be the bask for-mulae for television commercials.

The most valuable court witness isan eye -witness. A good reporter is aguy who can accurately describe whathe saw and to help him out, newsphotographers go with him. when fea-sible. How many times have you said.and heard other people say. "Thatwas the greatest sight I ever saw" -

never forget the look on his face"- "I saw something today I'll neverforget" - "I wouldn't have believed.t. if I hadn't seen it with my owneyes" - "The very sight of it tookmy breath away" - and hundreds ofsimilar statements about things they'veseen and some of them going backtwenty to fifty years-indelible visualimpressions - never to be forgotten.

again, I say, script writers, don'tthink your words are the most impor-tant. As a song composer said to mejust the other day when I compli-mented him on the lyrics of a newsong, "The words are okay kid, butwhat about the tune? Nobody evertt histles the words."

Picture PowerYou may think I have a phobia

about the power of pictures overwords. But when you have agencyexecutives and copy men, and topflight men in their business at that,insist that the copy is of greatest im-ortanee in movies and television, apid

that they do not believe that what aperson sees he remembers longer thanwhat he heard -I begin to worryabout the future of television.

This facility of television, to tell avisual story, to prove verbal state-ments by visual proof, should open anew realm for advertisers who here-tofore have never been able to useradio profitably. Advertisers whoseproducts must be seen and not heard( about) - products that must bedemonstrated to be sold - productswhich by themselves are not inter-esting, but become very valuable anduseful by virtue of their accomplish-ments. which will now be seen. Realestate firms may offer homes over theair. that otherwise you might have totravel miles to see. There will be manynew advertisers using television -and only because if you're from Mis-souri - they can show you!

T B A ConventionFALL session of the IBA ton} ention. set for October 10th and 11th

at the Waldorf Astoria in New York, will be highlghted by thefirst showing of the latest television equipment - receivers, transmitters,cameras and studio accoutrements. In addition, plans call for demon-strations of television, both from local transmission and network opera-tions.

Ralph Austrian, president of RKO Television Corporation. has beennamed as general chairman.

4T 14.5711A Complete, PracticalHandbook of Present-

day TELEVISIONNow, the tremendous opportunitiesin the field of television are broughtwithin your reach-by means ofthis crystal-clear book. Written inplain English, concise and up to theminute, it makes television easyto understand. There is no mathe-matics to confuse you and make ex-planations difficult to follow. Hun-dreds of vivid illustrations bringevery fact and point right beforcyour eyes. You'll be amazed at howsimple television can become with

(74; TELEVISION

SIMPLIFIEDby MILTON S. KIVERAssociate Instructor in radio, U.S. ArmyAir Forces. Formerly Instructor in radio,Illinois Institute of Technology.

This brand-new, authorita-tive handbook not only con-tains all the information youneed for success in television,but covers the trouble shoot-ing and repair of radio sets.Beginning with a clear, over-all picture of the entire field,it breaks down the televisionreceiver into its componentparts and circuits. It ana-lyzes them, step by step,showing how they are formed,the roles they play, and theiroperating characteristics.

BRIEF OUTLINE OF CONTENTSThe Television Field; Ultra -high Frequency Waves andthe Television Antenna; Wide -band Tuning Circuits,Radio -frequency Amplifiers; The High -frequencyOscillator. Mixer and Intermediate -frequency Ampli-fiers; Diode Detectors and Automatic Volume -controlCircuits; V ideoAmplifiers; Direct -current Reinsertion;Cathode-ray Tubes; Synchronizing Circuit Funda-mentals; Deflecting Systems; Typical Television Re-ceiver-Analysis and Alignment; Color Television;Frequency Modulation; Servicing Television Receiv-ers; Glossary of Tele-vision Terms.

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March, 1946 23

PROGRAMMING

AMATEUR GROUP

Of particular interest to stationswho plan to use local amateur groupsis WRGB's cooperation with SkidmoreCollege in the presentation of "Wuth-ering Heights." The full length play,divided into three acts with five min-ute intermissions, ran for 21/4 hours.

Adapted from Charlotte Bronte'snovel, play required a cast of seven -withith three female and four male play-ers. Girls were cast by Skidmore, withG.E. casting the men who were se-lected from local amateur groups inSchenectady.

The play was completely directedat the college and rehearsed there, forstage presentation primarily. BobStone. who produced the play forWRGB, attended one rehearsal andone performance at the college, inorder to plot camera angles. Big dif-ficulty in adapting a stage -rehearsedplay to television is compressing theaction down to the limits of video.The Skidmore stage is large -andnatural tendency is to make the mostof it. However, in building the setsfor the tele-version, they were abouttwo-thirds the size of the originalscenery.

For a 21/4 hour show, there wasonly a 31/2 hour camera rehearsal -which meant going through it justonce. The previously worked out cam-era shots were tried and adjustments

WRGB's work with local dramatic groups . . . re-st me of various formats tried by operating stations.

made where necessary. However,WRGB does not consider this a par-ticularly good way to operate. In BobStone's opinion, the show needednearer twenty hours of camera re-hearsal to really do a good televisionj ob.

Only two cameras were used - onefixed for close-up shots, and a mov-able camera for the long shots. Cam-era shooting was largely long shots,with only a few medium close-upsused. This technique occasionally re-sulted in losing the effects of thespeeches. as the camera did not pickup facial expressions.

Choice of such a play may be opento question, particularly since sucha spectacular job had been done onit in Hollywood, with the dramatic:mpact heightened by outdoor shotson the moors which underscored thet% ild rebellion inherent in the charac-ters of Heathcliff and Cathy. Forthose who had seen both, naturaltendency would be to compare thetwo with video due to suffer in com-parison. Story had a highly dramatic,psychological theme, based on theelemental emotions of hate and love,building throughout to a final climaxof destruction. It was a difficult play,with long speeches and an undercur-rent of emotional tension to be sus-tained, but the Skidmore group turnedin a creditable performance.

Title cards were lettered in old Eng-lish to tie in with the period, but thistype of printing is difficult to readand a little tough on the viewer. Castcredits were handled by close-up shotsof each performer, followed by a slidegiving the character and name ofplayer.

DRAMA

WBNT's presentation of "Laughterin Paris" was a full length original

ritten for television by NBC's scriptmanager, Richard McDonagh. Usingthe promotional idea that the scriptwould make a good movie, NBC in-vited representatives of motion pic-ture studios to the viewing room tosee the performance. In addition, anotice was sent to all viewers explain.ing this and asking them to help castthe play for the movies. Cards wereenclosed for their convenience.

Story was a psychological mysterydrama, employing the flash -back tech-nique to unfold the plot and holdthe suspense. Centering around twobrothers - Henri, gay, artistic, care-free, and Pierre, mercenary andwealthy manager of their joint busi-ness interests, play opened in thepresent in the bedroom of Pierre, asick, fearful old man who insists thathis two male attendants bolt all doorsand windows. Settling him for thenight they leave and as he lays theretossing, his brother appears at hisbedside, taunting him for the injus-tices which he had received from himforty-six years earlier, threatening tokill him, making him relive eachscene as it happened.

Good camera shooting heightenedthe dramatic tension here, for sideangle shots only showed the arms andback of the older Henri, picked upthe terror on Pierre's face. Black -outswere then used for each flashback.Briefly the story concerned the broth-ers' love for the same girl, culminat-

This scene from WNBT's "Laughter inParis," shows the living room set whichwas constructed along the end andsides of the studio. Particularly in-teresting are the wall and draperytreatments which, while eliminatingthe hare look, are simple enough toavoid any confusion in close-ups.

24 Television

Ctedas: P,cduction Manager-N. Ray Kelly; Art Director-Bob Wade: Sat Decorations-Elwell.

Here's one method by %hick a television art director may transfer informal visually and rapidly- to the executing staff.A plate of settings and details for the NBC product' of 'Laughter in Paris.- a dramatic program directed by Fred Coe.acts as an adjunct to the conventional scaled staging plan, and readily informs the scene painter. set dresser, property man(and possibly the director or video technicians) al t decorative details.. wall treatments. the cutting of stencils, ornamen-tation that may not be indicated on the regular blue -print.Realizing that t. is short in television planning, the designer has here rendered four sets on one plate, s in perspec-tive, and one in elevation to show furniture types and placement. rather than the larger detailed scenic artists' elevationsused in the theatre. Given such visual instructions, scene painters and set dressers may start work without caning for elab-orate drawings. Naturally this quickie work sheet does not replace the all-important staging plan by which space problemsand camera angles are plotted.

March, 1945 25

ing in Pierre's efforts to trick Henriout of his share of the estate andclimaxing in his carefully plannedmurder of the girl with the evidencearranged to throw guilt on Henri,which resulted in his conviction andlife sentence to Devil's Island.

There were fifteen scenes in thefifty -minute production. with flash-backs to the bedroom used to carrythe sequence of the story, as Henripummels Pierre. Novel story twistcame at the end with the attendantscoming in to find Pierre badly bat-tered and the audience learning thatthe setting is really a mental sani-tarium and that these "delusions"have been frequent occurrences.

Particularly interesting is the con-troversy which this play aroused.Some critics kicked it around; otherspraised it. Choice of such a morbidtheme for a television play was criti-cized. Significant also were the re-marks of some of the movie guestswho seemed very impressed with thepresentation and voiced the old un-answerable "What do you think tele-vision will do to the movies?" Ex-cept for a slow opening we thought itwas an interest -holding play excep-tionally well produced and well acted.Production -wise, it was excellent,with the black -out technique addingto the general somber mood, and theswitch from scene to scene done al-most instantaneously.

Of interest too were the six sets re-quired for the production and theutilization of WNBT's studio space toprovide such a set-up. Reproducedhere are Bob Wade's sketches to sup-plement the conventional scaled stag-ing plan.

WNBT's one -act adaptation of Rob-ert Sherwood's "Abe Lincoln in Illi-nois" kept the best of the playwright'sdialogue and offered a program thatwas both concise and timely, point-ing out in a subtle fashion that theproblems of 1946 and the Civil War

ILLUSTRATIONS:Top: ABC's "I Saw It Happen," pre-sented over WRGB, dramatizes thehigh spots in a newspaper columnist'srecollections. Against a newspaperoffice background, the columnist andhis secretary are used as the connectinglinks between the different incidents.Center: WCBW's, "Tales From Hoff,"was an experimental children's bed-time program. Format was a cartvisualization of a kid's story, as thetale was recounted by the cartoonist.Cameras moved in for close-ups of thecartoons, and side -angle shots of thecartoonist at work, with good results.Bottom: WBKB's educat' I programin cooperation with the School of theArt Institute, used the demonstrationtechnique to show the new art of de-signing in plastics to their viewers.

26 Television

period are not too dissimilar. Foursets were used with a minimum lapseof time between scenes for costumeand make-up changes. Play was wellcast, well acted and moved swiftlywith a few minor exceptions.

First scene presented a Lincoln -Douglas debate on slave rights, stagedon an outdoor rostrum and completewith a visible as well as audible mob.Good trick was the camera moving inover the heads of the people for aclose-up of the speaker. During thelong speeches, which could haveproven dull video, camera action cutin to show mob reaction or reactionof each man as the other spoke. Theinterview in Lincoln's home, secondscene, was the only interior shot used.

In both the election returns andoutside the railroad station, mobscenes were particularly well cut -in.Sound effects were good too, givingthe impression that the speeches,cheers, etc., were really taking placeout-of-doors. One disturbing factorthat could be added to the list oflittle things that a producer mustwatch, was the sameness of the facesand costumes in the mob scenes, de-spite the fact that the crowds weresupposedly appearing in differentyears and different places.

PUBLIC SERVICE\\ 13KB, in cooperation with the

National Safety Council, presented"D.W.I." - which means a personwho "Drives While Intoxicated." In-troduced for the first time on tele-vision was the famous "Drunk -o -Meter," developed by the EvanstonPolice Department, which can scien-tifically detect the degree of intoxica-tion of a "D.W.I." who has beenpicked up. Evanston officials and amember of the Safety Council ap-peared on the program, explainingthe workings of the mechanism andthe dangers of drunken driving.

ILLUSTRATIONS:Top: Half-hour dance program, recre-ating authentic Haitian voodoo rites.was telecast by the Katherine DunhamCompany over WCBW. Interpretationfeatured twelve dancers, a narrator,and recorded and "live" drum beats.Center: ABC's, "Play the Game," pre-sented over WRGB, emphasized the in-formal house party format idea withthe rumpus room setting. "Party"guests were each given a problem toact out or a stunt to do as in Charades.Boil : A series of golfing lessonshave been presented over WBKB witha leading golf pro demonstrating someof the finer points of the game.Opener started with the more elemen-tary principles of the game, with theinstruction progressing each week.

March, 1946 27

WCBW's mobile units televised the annual Sportsmen's Show f Madi-son Square Garden. Here caner. n 4 lier to the scene of action.

W6X AO, capitalizing on the wide-spread interest in the atomic bombexperiments scheduled for the Mar-shall Islands, presented an explana-tory program. A representative of theU. S. Navy discussed plans for settingoff one bomb in the air and anotherfrom a float. Tying in with this dis-course was the film program, "TheLast Bomb," an Army Air Forces pro-duction which depicted the final op-erations of the B-29 in defeatingJapan and the atom -bombing ofNagasaki.

WBKB's "Preparation of an In-come Tax Return," had as its star amember of the Internal Revenue De-partment. No attempt was made todramatize the format or make it en-tertaining. It was a straight educa-tional presentation, giving a detailedexplanation of the proper methods offiling a return.

VARIETY

RGB's "Gems from the HarveyGirls," tied in with local movie show-ings of the picture. Using a strip of16 mm. film. a scenic background wasdrawn in with the Atcheson, Topekaand Santa Fe lettered on. A toy trainwas slowly drawn across and super-imposed against the strip for theopener. Camera then picked up a girlsinging, fading in and out of the filmbackground. Dissolve was then madefrom film sequence into live show.

Studio set showed a restaurantscene with a man walking in to beserved and heading toward a tablewhere a waitress was standing. Themenu was lettered "Harvey House,"and the musical numbers were print-ed on the menu. The man's ordering

%%ith the cue for the songs, with close-ups of the menu giving the titles. Thethree waitress -vocalists were accom-panied by a piano.

This handling is typical of theWRGB song presentations-wherebyall musical numbers are dramatized

ith a story format.WCBW's latest experiments with

children's formats brought the fairytale up-to-date and used the talents ofcartoonist Syd Hoff to visualize thestory of the snow babies. Setting wassimple, with Hoff seated at the draw-ing board and the two youngsters oneach side of him. Narrative of thetale was carried by Hoff, who drewthe figures of Momma and Poppa,who were very unhappy because theyhad no children, until the snow babiescame along.

As Hoff told the story, he illus-trated each sequence with charcoalcaricatures. Kids' comments added anatural touch to the whole programand Hoff interjected enough humorin his commentary and sketches tohold adult interest. Camera actionwas exceptionally well worked outfor a format of this type where therewas no movement on the part of theperformers. Action varied from shotsof the three at the drawing board, toclose-ups of the artist's hands, andswitching from that to a close-up ofwhat had just been drawn. This pacegave an element of surprise, forthere's a fascination in watching anincident take shape under an artist'shand. Bedtime story idea was playedup by having the kids in their pa-jamas. ready to scamper off to bed atthe conclus'on of the story.

ABC's "I Saw It Happen." a half-

hour show produced over WRGB,builds its format around Don Dun-phy, in the role of a newspaper col-umnist and his secretary Margie.Opening is set in a newspaper office,with camera moving in for a close-upof Dunphy at his typewriter. Record-ing provides the usual background ofnoise found in a newspaper office.

Opening conversation between Dun-phy and Margie as he starts to writehis column introduces the evening'sguests. Scene then fades out to adramatization of the event whichDunphy had started to describe. Dis-solves back to office between episodesfurnish the connecting link.

Typical of this program was theformat which starred Jimmy Grippo.the hypnotist. Story was built aroundGrippo hypnotizing Tony Galento,swung to a comedy routine betweenGrippo and Evil Eye Finkel. witheach trying to outstare the other, andconcluded with a demonstration ofGrippo's powers over some of thespectators. Grippo hypnotized oneboy into believing he had been stungby bees, another into thinking hecould not sit down, still another intobelieving that he was alternating be-tween freezing and burning up.

Screen titles and credits, superim-posed over a montage of filmed sportsevents. open the show.

MOBILE PICK-UPS\VCI; \\ 's mobile camera crews have

been bringing the basketball gamesfrom Madison Square Garden as aregular weekly feature to tele-viewers.In addition, they have widened theirscope to include the Golden GlovesBoxing Tournament and the NewYork Sportsmen's Show, also fromthe Garden.

WNBT has kept to their scheduleof bringing boxing bouts on Mon-day and Friday night, basketball onWednesday, and hockey on Sunday.In addition they also televised theN.Y.A.C. games at the Garden. whichfeatured top track events.

Duplicate coverage of some sport-ing events by the two stations willprobably continue until a sponsorsteps in and nails the event as anexclusive.

Interesting sidelight on this televi-sion coverage of sports events - andboxing in particular - are the storiescirculating about the bars and tav-erns equipped with television sets, inthe New York and New Jersey area.Business booms on the nights whensuch events are shown. One midtownbar has discontinued showing thefights because of the crowds the fea-ture pulled-too many outsiders whodisturbed their regular clientele!

28 Television

ADVERTISING

STATION POLICIES

0 \ THE controversial point ofagency producer vs. network di-

rector control, NBC's policy, as statedin their recently issued brochure"Guide To Commercial ProductionProcedure," gives the reins to theagency producer, along with the rightto okay the director assigned by thenetwork. Studio rehearsals, conductedby the director, will be held under theproducer's supervision and he will bein the control room to transmit hisinstructions on the camera handlingof the show to NBC personnel throughthe director.

Another interesting feature is theinclusion of rehearsal time in the flatcharges - which can be interpretedas a smooth network maneuver to in-sure at least minimum camera re-hearsal. This overall charge will elim-inate any corner cutting on costs andskimping on rehearsal time whichmay result in a less perfect, on -the -airtechnical performance.

Emphasizing that any policy set upat this stage must necessarily be ten-tative and subject to change as themedium grows. the booklet neverthe-less puts down in black and white adefinite policy and sets a rate card.

All program material presented forproduction over WNBT must conformto the same rules of good taste thatNBC has enforced in their soundbroadcasting.

Live ShowsWhen advertisers create original

program material for live television,development of the script and all de-tails pertaining to staging it will behandled by the agency producer. NBCwill assign a director and completetechnical staff to work under his su-pervision on studio rehearsals and tocarry out his orders in the cameraexecution of the television material.The producer will be in the controlroom and the director will transmithis instructions during the on -the -airprogram. On the net's side, the direc-tor will be responsible for the main-tenance of all company policies, rulesand regulations and for the directionof NBC personnel. In addition, hewill be available for consultation and

with the agency producer

Analysis of New York stations' commercial ratesand procedures ... new shows ... agency activity.

at all stages of the program's prepara-tion.

For such sponsors as have devel-oped original television programs butwho do not have a production staff,NBC will add the services of a pro-ducer, and anv additional creativepersonnel to the basic productionunit. The net's producer will workwith the client in developing the ideainto a package program. This collabo-ration, if desired, can be broadenedto cover script preparation, casting,rehearsals, coordination of facilities

and responsibility for the presentation.

Film ProgramsNBC will film television programs,

or will accept client's own materialfor presentation over WNBT. In addi-tion, NBC built -and -produced televi-sion film programs will also be avail-able as packages.

CommercialsIf requested, NBC will also assist

in the preparation of commercial copyand continuity. Charges for this serv-

Esso promoted their half-hour television show, "A Date With West Virginia," bysending a letter of invitation and a road map to the wma list of viewers.This is the first in a series of four states. Ilarschalk & Pratt is the agency.

STANDARD OH. COMPANY OF NEW JERKEY

even

NO11111 NITNIPIET

Dear Telenthusiaat

You can have a tVirginia at 8:00February 27.

At that time,Company will ption WEBT a 30"A Date withwill enjoy thisbeauty and fact

To make the evneighborhoodthis colorfulwhen you planyour Esso dealcan have for

MaAaaWOMWM. 1U. J.

A FULL COLORmaw SOUND MOTION rictull.

SUMMING TINT -JO MiNt.111110

March, 1945 29

This rich newfield needs wirters

NOWTelevision is no longer just aroundthe corner. It's here-and mushroom-ing. You can grow with it. Televisionneeds-and will pay large sums to-writers who know specifically how towrite for television. You can be oneof them.Doug Allan is writer, director andparticipant on television's oldest andmost nonular regular show. "Thrillsand Chills with Doug Allan." Hisclear, simple book tells you how tobreak into television, how to selectand develop ideas, how to build pro-grams. It also tells you about studioprocedure, makeup, camera angles-every problem in television is madeclear. Get this book now and cash inon the writing opportunity of there.ntury. Illustrated with photographs.

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ice will be figured separately fromprogram costs, dependent upon thetype of commercial and the prepara-tion involved.

Miscellaneous ExpensesScenery and stage settings may be

furnished either by the client or byNBC, but must be built to NBC speci-fications. If requested NBC will ar-range for the settings, charging onthe basis of decorating or alteringsets on hand, rental, transportation,or new construction. Charges for set-up and striking of sets will be basedon man-hours required.

Where NBC handles the entireshow, charges for casts, musicians.announcers, etc., will be dependentupon the talent used. For film studioshowings, where announcers, com-mentators, effects men, music andscript rights are required, chargeswill also vary according to the per-sonnel required. Charges for cuttingand editing films, preparation ofslides, captions or other required spe-cial film effects will be quoted on in-dividual basis. For field pick-up units,quotations are again based on the fa-cilities, personnel and equipment re-quired in each case.

WNBT Rate CardContract minimum is 13 weeks.

with air time segments of 10 minutesor more than hour upon request. Aseparate transmitter charge of $75 forten minutes and $100 for 11 minutesto 1 hour is made. Including this cost,the on -the -air time is as follows:

Live1 hour - $850 (including five hours

rehearsal)1/2 hour - $600 (including three

hours rehearsal)1/4 hour -$400 (including two hours

rehearsal)10 minutes - $325 (including 11/2

hours rehearsal)\ orE: A flat charge of $75 is made

for the use of the film studio whenused in connection with live studioproductions.

Film1 hour-$350 (including three hours

rehearsal)1/2 hqur -$300 (including two hours

rehearsal)1/4 hour - $250 (including one hour

rehearsal)10 minutes - $200 (including forty

minutes rehearsal)

Additional Rehearsal CostsI se of studio facilities for addi-

tional rehearsals is pegged at $150per hour or nearest half-hour frac-tion thereof; with $50 an hour ornearest half-hour fraction thereof be-ing charged for the film studio.

Programs, such as audience partici-pation shows which do not requirethe allotted rehearsal time, will hecharged at the rehearsal rate of $150per hour, for pre-program prepara-tion, plus the time for actual broad-cast.

DuMontDuMont's policy of letting the agency

producer run the whole show at thestation will still be in effect when thenew Wanamaker studio opens, al-though no formalized procedure hasbeen set nor have they settled on thefinal form of their contracts as vet.As reported previously, DuMont'srates are:

Air Time1 hour - $300 ($255 on 52 -time

basis)1/, hour - $180 ($153 on 52 -time

basis)1/ hour - $90 - I film only $76.50

on 52 -time basis)Announcements - $30 for a minute

or less

Rehearsal TimeLarge studio - $65 an hourSmall studio - $40 an hour

Stage settings, props, etc. will behandled by DuMont's art departmentwhen requested.

CBSCBS' original policy of $150 an

hour facilities charge for the use oftheir studios, both during rehearsaland on -the -air, still holds, but it isunderstood that a definite policy isbeing formulated. This leaves CBS atthe moment the toughest of the threestations, still retaining their right topass on the program content from theangle of what makes good televisionentertainment.

Summing It UpSumming up the cost factors, dis-

crepancy in rates are not as wide asthey seem. If the five hours rehearsalwhich NBC includes in their flat rate,were added into the charges of theother two, the three stations in NewYork would stack up as follows on thehourly basis:

RATES FOR ONE HOUR

NBC $850 $100 transmitter charge; $750 pro-gram facilities charge; 5 hours re-hearsal included

CBS $900

DoMen:

1 hour air time plus five hours re-hearsal - or 6 hours at $150 for useof facilities

$625 z:300 per hour plus five hours rehear-sal at $65 per hour

COMMERCIAL SHOWS

Esso inaugurated its series ofhalf-hour film shorts over WNBT with"A Date with West Virginia." Directcommercial was limited to the Essosign at the beginning and end of theprogram. However the entire film wasplanned to promote travel by car,

with opening sequences picking upthe hills and valleys of West Virginiaand the highways which interlace thestate. Commentary neatly tied in thescenic beauty on the screen with itsaccessibility to the motorist, by point-ing out the bridges, clearly markedhighway signs. and the precautionsfor safety taken in building the road -

30 Television

Set in a box at the opera, latest Walt-ham time signal film carries out thetheme of associating elegance willsWaltham. These twenty-second signalswill he shown over WNBT, WPTZand WABD. Agency is N. W. Ayer.

%says. Film then swung into the in-dustries of the state - farming, coalmining, gas pipes, glass blowing, etc.,ss ith at work scenes to add interest.Shots of Charleston, Huntington andWheeling, as well as views of stateparks, rounded out the program.

Film was well planned and picturecomposition was excellent. Particu-larly clever integration of the themeto promote more motoring was theuse of highway scenes as a bridgefrom sequence to sequence, with justa word or two to emphasize the roadconditions in the commentary. Pro-gram closed with the Esso slogan, in-viting the viewers to "happy motor-ing" in West Virginia.

This film was an excellent exampleof the subtle commercial technique.The entire shooting script was builtaround the theme of increased vaca-tion travel by car. and tied in thebeauties of the state with the con-venience and safety of its state high-ways. Nowhere was the sponsor'sproduct mentioned during the com-mentary, but the Esso trademark car-ried a visual punch.

In addition to video scanning.shorts will be shown to motoringclubs and other groups, thus cuttingdown on the per viewer cost. Particu-larly interesting was the promotionaltie-up which Marschalk & Pratt,agency. made with the owners of tele-sets. Agency sent out letter announcingthe program and enclosing a road mapof West Virginia, to all people on theNBC list of viewers. Similar films arebeing planned for six other states.

Esso has signed a 26 -week contract

with WNBT for two weekly ten-min-ute spots which will feature the EssoTelevision Reporter. According toJohn Allen, television director at theagency, they expect to increase thisgradually to the point where they willbe on every night in the week. Filmswill be made by the NBC cameracrew, who will take full responsibil-ity for the authenticity of the film.These can be relayed to Philadelphiaand Schenectady. Agency also has itseye on the Washington station whencompleted.

Marxman Pipes made their tele-vision debut with a 10 -minute varietyshow, "Close -lips," over WNBT. Pro-gram was completely produced by theweb's staff. Commercial theme wasbased on stressing quality of the pipesand top talent was chosen to tie inwith this angle.

Program opened with a singingcommercial on pipe smoking playedagainst the title card and was fol-lowed with a still of a hand holding apipe, while the off -screen announcerstressed the quality of Marxman ingeneral. Idea of close-ups was usedto switch from the pipes into the threeentertainment spots. Slides of Marx -man pipes were used between eachnumber with off -screen commercial.Film strip pointing out a particularfeature was used at the end to showthe craftsmanship that goes into mak-ing a fine pipe. Program concludedwith the last few lines of the themesong.

Format was in three parts, withLillian Cornell singing in the open-ing and closing spots, and Sheila Bar-rett's impersonation of a cockney girlsaying good-bye to a Yank sand-wiched in between. While no onecould question the quality of the tal-ent. it still did not make very excit-ing television fare. First the perform-ers acted before a drape and a vaseof flowers, certainly not very much inthe visual line. Camera action variedbetween routine long shots and close-ups. There was not enough "business"or action to hold interest. Against thebackdrop of a night-club or a stage,where the eye may roam to the or-chestra or to the setting, this type ofentertainment can be tops. But withinthe confines of the video screen, itfell flat.

Commercial seemed overpowering- yet actually included the openingand closing theme song, the three off -screen commercials and the film strip,it only totaled two minutes of the10 -minute program. Flashing fromthe close-up of the pipes. to the close-ts!) of the entertainer, seemed to giveequal weight to each portion of theprogram. This impression was prob-

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such as-

History and Development

The Television Camera

Transmission and Receiving

The Control Room

Studio Design, Staging and Lighting

The "Commercial"

Visual and Special Effects

Educational Possibilities

The Actor and Acting Technique

Economic Aspects

Color Television

TELEVISIONthe eyes of tomorrow

By CAPTAIN WILLIAM C. EDDY

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spot news reporting, visual educa-tion and entertainment, newcareers and research. This one bookdeals completely and effectivelywith these subjects. It also takesmuch of the mystery out of tele-vision, without being too technicalfor the layman. The 135 illustra-tions and drawings assist the readerto easy understanding and com-plete grasp of the text. A completeglossary defines in every -day termsthe studio "jargon" of television.

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March, 1946

ably due to the fact that the enter-tainment itself was of simple nature-a song, an impersonation, a song.This same technique of alternatingthe plug with the acts has been triedsuccessfully before but usually onlywhere the acts have been skits, in-volving a few characters and withsome dramatic or comedy theme tosustain interest and to give substanceto the format.

This points up again the well knownfact that a direct video commercialis potent and must be measured outin carefully spaced doses.

CBS PACKAGE SHOW

WCBW's latest package show, "It'sA Gift," is obviously a commercialformat but it failed to hit the bell astop video entertainment. Set in a giftshop with various pieces of merchan-dise displayed in niches in the wall,people who enter the shop are askedto choose their gift and then madeto answer a question or do a stunt inorder to win it. The selection of thegift gives the emcee a chance to de-scribe it. Such a format could be usedfor commercials on multi -sponsoredprograms or to show different linesfor one sponsor.

Entertainment portion of the showfell flat however. An emcee needsmore than his own laugh at his ownjokes and perhaps the background ofa studio audience helps keep the gagsfrom falling too flat in this type ofshow.

Home viewer participation is in-vited by asking them to send in gagsand a letter of 50 words saying whythey would like to win the prize thatis offered for the best letter. Winnersare the first two contestants on theprogram, followed by a few pre-selected guests. Spontaneity, so neces-sary in this type of format, is lack-ing altogether, while a forced humorwhich rang false, seemed to be thekeynote.

AGENCY ACTIVITY

N. W. Ayer has produced two newfilms for the Waltham Watch timesignals which tie in with woman'spreoccupation with fashions. Themeof films, which were produced byCaravel, carries out the association ofelegance and Waltham. Conover mod-els display fashionable attire againstsophisticated backgrounds. One filmis built around a travel scene in arailroad station, and the other isplaced in a box at the opera. DonMcClure is television director for theagency.

This dose -up view of four outstandingpipes, together with an offscreen com-mercial describing them, was one ofthe commercials used between the actsin the ''Close -Ups" show, sponsored bythe Marxtnan Pipe Co. over WNBT.

Duane Jones is planning a quiztype show that will have an unusualtwist for its client Mueller Macaroni.The show will be the first sponsoredpresentation to appear on the open-ing night of DuMont's Wanamakerstudios. According to Walter Ware,agency tele executive, this show willdiffer from other quiz shows in thatall questions will be acted out withthe idea of visual entertainment up-permost in mind. Each of the ques-tions will be a well -integrated unit of

QUESTIONWhere can advertisingagency television men find

the solution to their filmproblems?

ANSWERCall BRyant 9.4786 andmeet a versatile, producingfilm group. Your problems

will be welcome.

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entertainment. Commercial on theprogram is expected to last for twominutes, and will be handled withoutsugar-coating as a straight -forwardselling job.

Agency is preparing a brochurethat will be sent to all dealers to fur-ther exploit the commercial possibili-ties of this television program.

McCann-Erickson announced thesigning of a 52 -week contract forGruen Watch Company with CBS tel-evision station WCBW for a series oftime signals. The signals will be onfilm, and run for 20 seconds each.They are scheduled to be shown twicea week beginning April 3rd. CarloD'Angelo is television director for theagency.

Milton Biow Agency has pre-pared 20 -second gins for BulovaWatch Company. They were made bythe Well -Got Trailer Service underthe direction of Biow's tele director,Harry Spears. Cost of the film is inthe neighborhood of $500. The fihnis to be a background for the voiceof the announcer who will give thecorrect time. Theme will featurechurch bells with the name Bulovaspelled out letter by letter, and super-imposed with each peal of the bells.Time signals will be shown overWNBT and WCBW.

Agency is planning presentationson behalf of its other clients, amongwhich are Eversharp and PhillipMorris.

Compton Advertising Agencyis devoting much time and energyto seeking smooth film presentationsfor telecasting. They have been work-ing with both 35mm and 16mm films,

hich are complete video and audiopackages. According to agency'sJames Manilla, "Today's tele stationsare tomorrow's motion picture pro-jection booths."

SINGING COMMERCIALS

Television Trademarks, Inc., hasbeen formed by the originators of thesinging commercial, Alan Kent andAusten Croom-Johnson, in an attemptto marry their successful audio tech-nique to the video. They have affili-ated with Anson Bond, who has suc-cessfully produced many religiousfilms, and are planning to merchan-dise their ideas via film. Thus far ex-periments have convinced them thatthe commercial should run about oneminute and one-half. They believethat they can successfully translateinto sight what they have done insound. All films will be done on acost basis with a royalty arrangementfor the producers.

32 Television

EQUIPMENTPhilco requirements for the contested D.C. station ...new lightweight portable equipment ... latest patents.

OF INTEREST to equipment manufacturers and applicants alike is the break-down of equipment which Philco estimated they would require for their

proposed station in Washington, and the cost of each unit. Sources from whichequipment will he obtained and a list of needed units were also listed as follows:

Breakdown of Estimated Initial Costs - Equipment and Sources

1. N isual I ratimnitter k liLAI ,-., 22.,300Monitoring Equipment ( Ph I I, .)) 10,000

2. Aural Transmitter (Philcol 8,719Monitoring Equipment (Philcol 3,148

3. Antenna Tower* (International Derrick) 12,995Antenna and Transmission Line (Philco) 7,000

4. Studio Technical Equipment 4,500No. 1 Control Room & Sync. Gen. (Philco) 2,000No. 2 Control Room & Sync. Gen. (Philco) 15,000Additional Sync. Gen. and Control Room Equip- 3,500

ment (Philco) 12.000Feerless Dollies (3) ( Feerless ) 4.000 171,300Camera Dollies (3) (Feerless)Mike Booms (2) (Mole Richardson 1 35,90035 mm Movie Projector (2) (Simplex) 35.90016 mm Movie Projector (1) (RCA)Studio Cameras (6) (Philco) 4.8,000Movie Scanners (2) ( Philco) 10,500

5. Studio Lighting and Sound Proofing 300 KW StudioLighting (Rossi 15,000

Sound Proofing 19,0006. Frequency and Modulation Nlienitors 1,630

7. Acquiring Land' 10,0008. Acquiring or Construction of Buildingst 167,2819. Other Items

Link Equipment (Philco) 23,760Office Equipment 4,545Test Equipment (Philco) 1,275Two Mobile Units 50.000 79,580

10. Total

$ 32,500

12,137

19,995

34,0001,630

10,000167,281

528,423

Tower has been erected.t Land has been purchased.

Figures obtained from contractors' bids include paving, plumbing, air conditioning andwiring.

Status of Equipment Required

On Hand l'o Be Obtained

1. Aural Transmitter 1. Monitoring Equipment

2. " Video Transmitter 2. Antenna & Transmission LineStudio Link

3. * Side Band Filter 4. Cameras (10)4. 250' Antenna Tower 5. Film Scanners (2)

5. Land for Transmitter Building6.7.

Projectors (3)Control Room Equipment (2)

6.

7.

Architects Plans for Transmit-ter BuildingTelevision Relay Link(Washington to Philadelphia)

8.

9.

Studio Equipment(Lights, Dollies, Mike Booms,etc.)Mobile Units (2)

° On order and immediately available.

Mobile EquipmentContinuing the trend towards com-

pact mobile equipment is Philco'sentrance into the lightweight cameraequipment field.

Their television engineering labora-tories have developed a new 35 poundtelevision camera and lightweightsuitcase type control equipment, de-signed to allow quick portability andfast setting -up. Philco claims a televi-sion crew can have the equipmentoperating in a few minutes from asingle portable master control unit.This new master control unit will per-mit the operation of several televisioncameras despite its comparativelysmall size. It has been found possibleto operate three of these new light-weight cameras in various positionsas much as 500 feet fron the mastercontrol unit, so that complete cover-age can be had at any large outdoorevent. Though smaller and muchlighter than the pre-war models, thenew camera will give pictures whichhave more brillance and higher defi-nition. Reason for this is that it isdesigned around the latest types oftelevision camera tubes, and bothcamera and control equipment areconstructed with new type of elec-tronic circuits.

MagnetronsSylvania Electric Products, Inc.,

announced a new type of tunablemagnetron, which is suitable forpulsed transmission within the 6 cm.-7 cm. range, and may be used forfrequency modulation applicationswhere deviations up to 500 kc. areneeded. This interdigitated magnetronmay be operated with a permanentmagnet. and mounted in any position.

Bright Picture TransmissionRCA Victor Bright Picture Trans-

mission Line is an important new de-velopment which according to RCAmakes a three -fold increase in picture,when this is used with the improvedantenna. The basis of this improve-ment is the addition of the new plasticPolyethylene for the insulating ma-terial which provides uniform spacefor the wires in the line.

It is claimed that this new develop-ment will also make it possible to re-ceive programs from any televisionchannel without necessitating a

March, 1946 33

Professional Directory

RING & CLARKConsulting Radio Engineers

WASHINGTON, D. C.

Munsev Bldg. Republic 2347

JANSKY & BAILEY-In Organization of

Qualified Radio EngineersDEDICATED TO THE

SERVICE OF BROADCASTINGNational Press Bldg., Wa.h., D. C.

JOHN J. KEEL

CONSULTING RADIO ENGINEERS

Earle Bldg. . NATIONAL 6513

Washington 4, D. C.

WELDON & CARRCONSULTING RADIO ENGINEERS

WASHINGTON, D. C.1605 CONNECTICUT AVENUE

PHONE-MICHIGAN 4151

GARO W. RAYCONSULTING RADIO ENGINEERS

991 Broad Street Bridgeport, Conn.

Phone 5-2055

Frank H. McIntoshConsulting Radio Engineers

710 14th ST., N. W. ME. 4477

Washington, D. C.

COMMERCIAL RADIOEQUIPMENT CO.

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

AM - FM - and TelevisionBroadcasting Stations

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

GEORGE C. DAVISConsulting Radio Engineer

Munsey Bldg. District 8456

Washington, D. C.

DIXIE B. McKEYROBERT C. SHAW

CONSULTINGRADIO ENGINEERS

1108 16th Street, N. W. Suite 405Washington, D. C. NAtional 6982

HOYLAND BETTINGER

CONSULTANT

Studio design, Programming,Personnel Training

505 Fifth Ave. PLaza 8-2000

McNARY & WRATHALL

CONSULTING RADIO ENGINEERS

National Press Bldg. DI. 1205

Washington, D. C.

WORTHINGTON C. LENT

Consulting Engineers

International Bldg.

1319 F Street, N. W.

Wash., D. C.

District 4127

John Creutz

Coruvilting Radio Engineer

328 Bond Bldg. REpublic 2151

Washington, D. C.

JOHN BARRONConsulting Radio Engineers

Specializing in Broadcast andAllocation Engineering

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

MAURICE T. GROEN

EDITING

CUTTING SCRIPT WRITING

10 Rockefeller Plaza New York 20, N.Y.

Phone COlumbus 5-6216

change in antenna direction whenused with the latest type of RCAantenna.

PATENTSTwo patents have been granted in

recent weeks in the field of television.Receiving System

Heinz E. Kallmann, Boston, Mass.,won No. 2,394,917 on a receiving sys-tem for television and other shortwave transmitters capable of receiv-ing signals from more than one trans-mitter (application for patent Oct. 6,1943, nine claims allowed, not

assigned.)The patented receiver is held to

solve the problem of providing cleartelevision reception in locationswhere television signals arrive fromdifferent directions. The systemavoids the poor signal-to-noise ratioand the multi -path reception typicalof all -wave, all -directional antennae,by provision of a number of direc-tional receiving antennae which maybe individually tuned, directed, andlocated.

A common signal transmission lineis associated with the different direc-

tional receiving antennae, and one orseveral individual television receiversmay be coupled to and fed by thecommon transmission line. Built intothis single line are electrical meansconstructed to avoid interaction andinterference.

The arrangement as a whole is flex-ible, so that in case of relativelystrong incoming signals and ordinaryfully sensitive receivers, the output ofthe antennae may be directly com-bined by suitable passive networksmatched to the impedance of thetransmission system.

34 Television

GGGi___

___________

Above: The ten -inch horizontal bar of the re-ceiving antenna. with a section of its Parabolicreflector in the background, stops all "ghosts"or unwanted reflections. This is part of the CBSultra -high frequency, full color television system.

Electron MultiplierJoseph D. Schantz, Fort Wayne,

Ind. received No. 2,396,023 on ap-paratus designed to vary automati-cally the amplifying characteristics ofan electron multiplier associated witha television image analyzing tube, inaccordance with the average lightintensity incident upon the tube (ap-plication for patent April 26, 1943;seven claims allowed, assigned toFarnsworth Television and RadioCorporation.)

Conventional television practice,

Below: New film pick-up equipment used inCBS' color demonstrat s. In the foregroundis the arc lamp with its control mechanism. Thecenter section contains the scanning mechanism,while directly behind the film reel is the cylin-drical unit, housing electronic dissector tube.

the inventor explains, calls for meansfor maintaining a predetermine'range of video signals rrespective ofthe average light intensity incidentupon the image analyzing tube. Amanual adjustment can be made tovary the size of the aperture whichadmits light reflected from the sub-ject, and automatic controls havebeen developed for controlling thegain of a thermionic amplifier.

There are instances, however, whenit is desirable to control automaticallythe gain of an electron multiplier typeof amplifier. particularly when tele-

vision signals are transmitted by re-mote control.

The light responsive device cov-ered by this patent has a photo-electric cathode and an anode. In-cluded in the circuit is a resistorthrough which current is varied underthe control of the photoelectric tube inaccordance with the average light in-tensity upon the image analyzingtube. A voltage developed in the re-sistor is applied to one of the multi-plier electrodes to control the gainof the multiplier stages.

One Man's ReFlectionsbe in the wrong direction from theviewpoint of the studio audience.thusproducing unforeseen and unpleasantresults. Where motion -picture sectionsof the program are introduced, studioaudiences will either not see these atall or will have to view them on spe-cial motion -picture projection screensprovided for the purpose.

Similar troubles 1% ill arise with thestudio audience 1% herever dubbedsound is introduced into the perform-ance. It would be difficult to preserveany illusion or maintain the interestof the studio audience under suchconditions. This will also be the casewhen backgrounds are introduced orinjected electrically. The only way ofshowing such backgrounds to theaudience would be through television'receivers, one of which must be pro -

(continued from page 19)

vided for each member or group ofmembers of the audience.

From the commercial viewpoint,the presence of a studio audiencemight readily lead to an increasedemphasis being placed by the adver-tiser or sponsor or the theatrical serv-ice, so to speak, which the stationrenders to him. If the sponsor be-comes stage-struck, he will be moreinterested in the studio audience thanin the home audience. This is con-trary to the basic interests of televi-sion broadcasting and to its healthydevelopment. Similar conflict of in-terests may arise in the minds of thestudio staff, for the operating staffand the actors may never be quitesure whether they are playing pri-marily to the home audience or to thestudio audience. Yet the techniquesmost applicable to each of these dif-

fer almost as much as those of thelegitimate theatre, on the one hand,differ from those of the motion -pic-ture on the other.

It would probably be more desira-ble in the interests of all concernedto permit studio audiences only insuch cases as those in which the audi-ence actually participate in the per-formance and is, in fact, a part of theacting audience group. It must be ad-mitted that this rigid exclusion of thepublic from the television studio, ex-cept in rare instances, will requiremuch self-control on the part of thebroadcaster and the sponsor. The le-gitimate stage and the motion -picturestudios have found the strength ofcharacter and the wisdom to do thiseffectively. Should not television, withso many additional reasons for sucha procedure, follow in their path?

March, 1946 35

WASHINGTONComplete text of proposed decisions in Washington,D. C., hearings . . . applications and withdrawals.

On the much disputed Washington allocations hearings, the summaries, a. well as the rules of law, weredrawn up by the Commissioners. Because of the importance of interpretation to applicants andthe possibility of misinterpretation always present in condensations, we are printing the entire text.

Proposed DecisionsThe Commission proposes to grant the applicaions of Bamberger

Broadcasting Service, Inc., The Evening Star Broadcasting C pattyand the National Broadcasting Company, Inc. It proposes to denythe application of Capital Broadcasting Company. Insofar as theapplications of Allen B. DuMont Laboratories. Inc. and PhilcoProducts, Inc. is concerned, the proposed decision announces that

"The Commission is unable at this time to make a choicebetween Philco and DuMont 1111(1 accordingly, defers adecision on this point until after the conclusion of oralargument on this proposed decision in which Philco andDuMont may present their views."Parties are requested at the oral argument to direct their atten-

tion specifically to that portion of paragraph 6 of the conclusionsconcerning the importance of a network owning a television stationin Washington, 11.1'

Before the FCCIn the Matter ofBAMBERGER BROADCASTING

SERVICE, INC.New York, N. Y.For Construction PermitCAPITAL BROADCASTING COMPANYWashington, D. C.For Construction PermitALLEN B. DuMONT

LABORATORIES, INC.Passaic, N. J.For Construction PermitTHE EVENING STAR

BROADCASTING COMPANYWashington, D. C.For Construction PermitNATIONAL BROADCASTING

COMPANY, INC.New York, N. Y.For Construction PermitPHILCO PRODUCTS, INC.Philadelphia, Pu.For Construction Permit

11-234DOCKET NO. 7014FILE NO. B1 -PCT -41DOCKET NO. 7015FILE NO. BI -PCT -36DOCKET NO. 7016FILE NO. B1 -PCT -16DOCKET NO. 7017FILM NO. B1 -PCT -141DOCKET NO. 7019FILE NO. Bl-PCT-19DOCKET NO. 7021FILE NO. B1 -PCT -38

AppearancesFrank Scott and Charles H. Singer, on behalf of Bamberger

Broadcasting Service, Inc.: W. Theodore Pierson and Ralph I..Walker, on behalf of Capital Broadcasting Company ; William A.Roberts, on behalf of Allen B. DuMont Laboratories, Inc.; D. M.Patrick and Karl A. Smith, on behalf of the Evening Star Broad-casting Company ; John T. Cahill, Charles F. Delmar, Jr., andGustav .11argraf, on behalf of the National Broadcasting Company:Louis G. Caldwell, on behalf of the Philco Products, Inc.; HarryM. Plotkin, on behalf of the Federal Communications Commission.

'1111/1 proceeding involves the allocation of the four availablecommerrial television channels in Washington, D. C. Six applicantshave applied for these four channels. They are Bomberger Broad-casting Service, Inc., Capital Broadcasting Company, Allen B.DuMont Laboratories, Inc., The Evening Star Broadcasting Com-pany, National Broadcasting Company, Inc., and Philco Products,Inc. Hearings were held on their applicaions on January 21, 22.and n, 1946. All of the parties have waived their right to fileproposed findings of fact and conelnslons of law.

Bomberger Broadcasting Service, Inc.1. Itamberger Broadcasting Service, Inc., of iv York, N. Y., is a

wholly -owned subsidiary of L. Bamberger a Company, a retaildepartment store in Newark, N. J., which, in turn, is wholly -owned by R. H. Macy and Co., Inc., a retail department store inSew York City. The consolidated balance sheet of R. H. Maeyand its subsidiaries as of July 28, 1045 indicates its total stockand surplus to be worth $62,348,200.06. The combined balancesheet of the applicant shows /1 total capital and surplus on

29, 1945 of $1,184,573.37. Bomberger BroadcastingService owns a 50 kw. AM station, WOR, and an FM station.WHAM, both in New York City. It is affiliated with the MutualBroadcasting network and owns about 207 of its stock. Mr.McCosker, chairman of the applicant's Board of Directors. is alsochairman of the Mutual Board. Bamberger Broadcasting Servicehas an application pending before this Commission for a tele-vision station in New York City and for one in Philadelphiabut at the hearing it stated that it intends to withdraw thePhiladelphia application.

2. The applicant proposes to make Washington programs of na-tional interest available to Mutual affiliates with television sta-

tions and possibly to the Yankee Network : these arrangements,however, are only in the discussion stage. Mutual at present hasan AM affiliate in Washington, VOL,N which has not made anapplication for a commercial television station.

3. The applicant has purchased land located at Brandywine and40th Streets, N.W., Washington, D. C., at a cost of $43,000.While plans for the transmitter and tower which are to be lo-cated there have been drawn, no site has been chosen for studiofacilities, which an' intended to be located in downtown Wash-ington. The 5000 microvolt contour, assuming a radiated powerof 30.25 kilowatts. will embrace 975 square miles with a popula-tion of 907,776. Within the 500 microvolt contour. there will beincluded 4.350 square miles with a net coverage of 1,145,079people. These calculations are made for Channel 5. 76-82 mega-cycles, which bas been requested by the applicant.* The totalestimated cost of the proposed equipment. construction andinstallation is $503,400, the cost of the transmitting plant beingestimated at $238.400, studio and offices at $205.11110 and fieldequipment at $60,000.

4. The estimated cost of operation for the first year on a 28 -hourschedule of programming is $547,308 of which technical expensewill amount to $174,320 and program expense $312.s60. For thesecond year, a minimum rise of 10% in cost of operation isexpected. No projected income from the sale of time has beenestimated. No special refinancing is expected to be made in con -nee with the proposed station: expenses in the pre -profitperiod will be borne by both the applicant and Macy.

5. Although the applicant has been operating \VOR since 1922 andWHAM since 1940, neither of its affiliates has ever owned orcontrolled the operation of a television station. However. since1943, employees of the applicant have had experience in theoperation of television studio and console equipment in connec-tion with the production of television programs over WARD-the DuMont station in New York City - and WRGB the Gen-eral Eleetric station in Schenectady. Over 50 hours of live pro-grams were produced by these employees who have become famil-iar with all phases of television operation except the televisiontransmitter. Key employees will supervise the operation of theWashington station and at the same time will continue theirwork in New York. It is proposed that a local resident. as yetnot engaged, will manage the station and a full time programexecutive will be employed for Washington. Twenty-six of 32 peo-ple planned to be employed in the engineering department of theWashington station have been named.

6. A program organization of 29 persons is planned and a mini-mum 28 -hour weekly schedule of programs is proposed. Some ofthe programs have already been televised by employees of appli-cant and other programs will include local and public events.Programs will be relayed from New York City by coaxial cablewhen such facilities are available.

Capital Broadcasting Company1. The Capital Broadcasting Company is a family corporation.

Ninety-five percent of its stock is owned by Joseph Katz. itspresident. Ben Strouse, his son-in-law, is vice president -generalmanager and owns 2I(. % of its stock. Charles Harrison is sec-retary and owns 21/2% of its stock. Kate Katz, wife, and RuthStrome, daughter, of Joseph Katz. are treasurer and assistanttreasurer. respectively. These persons are all residents of Balti-more, Maryland. Mr. Katz, his wife and daughter own 94.12%of the Joseph Katz Co.. an advertising agency in Baltimore.Maryland. and New York, N. Y., Mr. Katz himself owning51.47% of the stock. Ben Strouse has a 26 2/3 interest in aretail music store in Baltimore, Maryland. The net worth of theJoseph Katz Company as of October 31, 1945, was $364,202.86and the total capital stock and surplus of the applicant as ofNovember 30, 1945, was $83,748.82. During the last seven oreight years. the Joseph Katz Company has had a net incomebefore taxes of $100,000 to $125,000 per year.

2. Capital Broadcasting Company is the licensee of station WWDC.In Washington, D. C.. and has an application pending for changein frequency and increase in power to 50 kw. It also has appliedfor an FM station for Washington, D. C. In addition. JosephKatz and Ben Strollse each have a 25% interest in WHOW,Inc.. which has applied for an AM station in Baltimore, Mary-land, and which proposes to file an FM application for the samecity.

3. '1'he applicant has an option for a site one mile north of SilverSpring, Montgomery County, Maryland. at which it intends to

* Unless otherwise indicated the coverage figures used in these findings are thosegiven by the applicants at the hearing, and all have been made substantially inaccordance with the methods prescribed by the Commission's Standards of GoodEngineering Practice. These figures may. therefore, be used for comparativepurposes and there is no necessity at this time for the Commission to find whetheror not the aoplicants will, in fact, serve the actual number of persons or areasclaimed by them.

36 Television

lor.1 e L,IIII ilr pre NI transmitter and its proposedNo e v idellre was Offered 1110 111111-

0.11 of The 7011111 Illier0Voil 01111tenr.radiated ietWee 1111l11111 or 12.2 Is. will iambi -aim 711

---quare miles with n population of 926.667. Wi Ho the :,mu wham-s-4dt 1.01114.111' 111111. Will be 11010S Willi a 1101eorerligo ior 1,1`71.3514 people. These eilleillil 1 hills are 1111111e forChannel I. r1. 7. inegatcyeles, which has been requested by theapplicant.

I. The estimated construction costs of the applicant are $276,810.which includes transmitting, film, studio, master control andpickup equipment. Estimated television operating costs for thethree years 1947, 1948 and 1949 are $675,900. These funds areproposed to be made available to applicant in the following11171 'rAn initial loan in 19-16 from Joseph Katz Co. $ 1711,1)114)Another loan ill 11117 fr Joseph Katz Co. .... 150,001 IEstimated profit W\\'1)4' after taxes 1946 48,000Estimated profit WWII(' before television expense

1944. 11148, 111-14Estitnated revenue from television 11)47Estimated revenue fr television 19-18Est inin fed reve from television 1940

240,00075,000

150,11002110,000

TotalThis total is about 146% larger than the total estimated ex-penses or $952.7in during the same period. 'lit make up anyadditional and unexpected television deficits, Mr. Joseph Katzhas further pledged another A3041,01)0. Arrangements have beenmade for a credit purchase of necessary apparatus.

:-.. With ri,4-4a to the $50,0011 in annual profits before taxes whichWW101 expeets to Make. it should be pointed tint that in nosear has WWI)(; rowel -riled in king such profits. At the 111.11e-ing applicant Justified this estimate on the Intention of theJoseph Katz Co. to forego the payment of agency fees fWW101 in connection with sale of time; Mr. Katz to waive hiswhole salary front WW1)(': Mr. Strome. to take a reduction insalary of $10,0410; and in a saving of $8,000 by reductions hipromotional expenses. Applicant's estimate of profits is basedfurther on the opinion of applicant's officers that the advertisingrevenues of WWDC in post-war years will remain the same orgrow larger even if the Commission licenses its many as (WAN,FM stations to serve Washington. At present, 70-75% ofWWDC's programs are already commercial.

ol. Applicant's estimate of revenue from television operations for1947 Is based 1110(1 a rate of $100 an hour for 14 hours a week.Applicant's estimate of revenue from television during the firstthr4.e years of operation is based upon conversation with adver-tisers and a prediction of one officer that 20,000 and of anotherthat 100.0110 television receivers would he in use in Washingtonby 1948. Television program costs will be low through the extraeffort of applicant's employees.

7. While the applicant has several years experience in AM broad-caMing, it has never owned or controlled the operation of atelevision station. Its proposed staff includes Ben Strause as gen-eral manager of all applicant's activities. Ira Walsh as televisionmanager. and Doti Beville as technical director. E. Arthur Hun-gerford, .1r., will Iii employed four days each month as televisionadvisor. Mr. Walsh. vlto will also be in charge of programming,117114 111111 some experience in the production of television pro-grams from 1938 until 1941. Mr. Beville has not had any expe-rience in the operation of a television station, but he stated thathe has become familiar with the literature In the field. It is pro-posed to employ a technical staff of 22 people in connection withtelevision activities. This staff will be trained under the super-vision of Mr. Walsh 111111 Mr. Beville at the Capital Radio Engi-neering Institute with the applicant paying for one-half the castof course of study.

s. A program organization of 18 persons is planned under the direc-tion of Mr. Walsh and a weekly schedule of 28 hours of pro-grams is proposed. Many shows now ',rialto -sal over WWIte will110 111171j111.11 to television broadcasting and the program will in -1.111111 loyal and piddle events. No plaits have been mache for thetelevising of programs originating from outside of Washington.

Allen B. DuMont Laboratories, Inc.1. The - of Allen B. DuMont Laboratories, Inc., Passaic, New

. is divided into two groups, Class A and Class It. Thereane t,i446,4140 shares of Class A stock issued, which is till hyOtani 5,000 stockholders, of W110111 only five persons ou ii nu.rtthan 1% of the total. Allen B. DuMont owns 92,41541 Class Ashares, and Paramount Pictures, Inc., OW1111 4:1,:21111 Class Ashares beneficially but not of record. All of the 5611,114441 shares ofClass It stuck is owned by Paramount. Class A stock elects fourof seven directors and also the president and vice president.Allen It. DuMont Is president and Leonard F. Cramer is viii'president. Class It stock elects three directors and also the sec-retary and treasurer. The secretary is Bernard 1;111111Will 711111 thetreasurer is Paul Itaibourn.A condensed 11111/Ince sheet of the applicant as of December 2,1945, stoma the value of its capital stock and surplus as$2.814,647 with current assets of $3,455,265 and current liabili-ties of $1,160,3113. DuMont manufactures radio applintwes iuelud-ing television receivers. It is the licensee of commerebilstation WABD in New York City and has applied (111. 0011111101'vial television stations in Cleveland, Cincinnati, and Pittsburgh.all of which would lie connected with the Washington and NessYork stations into a network.

:t. Applicant at the present time operates experimental televisionstation W3NWT in Washington on Channel Ni,. 5, 76-82 mega-cycles. This station is located at the Harrington Hotel in down-town Washington. This same site under lease for four more yearsis to be used for its proposed commercial television station andplans have been made for the construction of transmission andstudio facilities at that Islam. The antenna is to be placed on atower already built on the premises and will be 250 feet abovesea level. Assuming 7111 effective radiated power of 6.15 kilowatts.the 5404141 microvolt contour will embrace 125 square miles with apopulation of 737,000. There will be included within the 504)microvolt contour 512 square miles With 71 4 -overage of 847,000people. These calculations have been made for Channel 5, 76-82

which hits been requested by the applicant. At thetea rilig applicant staled that a higher antenna with resultingwider eoverage would ultimately lie desirable, but that in theearly stages it felt it was expedient to keep the transmitter nearthe conveniently located for purposes of experiments on!lie I rai.sittitti.r. Further during this period the lower heightwouhl !mike the 411114'119a more easily accessible than in the caseof a higher ann-tina. Applicant also stated that the choice ofantenna site wits based on the strong signal it will give in down-town Washington, the large expense that has gone into the con-st Mira -ion of present faellities there and the fact that operation..odd begin sooner than if 71 new location was chosen. The itppli-:Inl estimates coverage effectiveness to be very large so far as

the marketing and buying power of metropolitan Washington isconcerned. In the future, if it believes the need exists, a changewill be made. At present it feels the 4 -overage is adequate.

-I. Applicant has 111111 extensive VAPerie1100 in the technical and pro-duction aspects of televi.' . It will have available many trainedpersons to operate the proposed Washington station. It has madeplans for the use of only 31 persons in the operation of its sta-tion because of the experience of the personnel and the fact thatmany of Its network programs will originate in New York.

:i. A capital investment of approximately $115,000 has been madein the W71811111n11111 experimental station. The estimated capitalinvestment required for the commercial station is $396,355, in -eluding studio, transmission and pickup equipment. The operat-ing eosts the first year are estimated at $396,052, the secondyear, $321,907.72. The income front television operations for thefirst year is estimated to be $224,465 and $614,732.30 for thesecond year. Both estimates are based on network operation.The applicant estimates that 33,000 receivers will be in Wash-ington by the end of 1948 and that until 15,000 are in use, thestation will have an operating deficit. 'rite proposed advertisingrate would be $180 per half hour the first year and $297 for thesecond year based on the estimated number of receivers in 41st'.

6. Applkatit has made plans for is minimum weekly program Se111111-1111` of 28 haunt which will tnake use of its experimental facilitiesand past experience in both producti and transmission. Theprogram will include local aiiii public events. In the first year ofoperation an average of 131, hours of conino.rcial shows 1111/114 hours of sustaining shows are planned. Use will be made ofthe coaxial eable or relays for its network and the station willtelevise shows originating from outside of Washington.

The Evening Star Broadcasting CompanyI. The Evening Star Broadcasting Company of Washington, D. C.,

Is a wholly -owned subsidiary of the Evening Star NewspaperCompany of Washington, I). C. Samuel Kauffman, president ofthe applicant company is treasurer of the newspaper company.The editor of the paper Is Theodore W. Noyes, the president.Prank II. Noyes, and the secretary, R. M. Kauffman. It. M.McKelway, 11 director of the paper, is vice president of applicantand W. It. Little, comptroller of the paper, ix secretary -treasurer.All but 21,_';-01 the paper's stock owned by Mr. McKelway isheld by descendants of its founders. All the officers and directorsof both Ilie paper and the applicant have been Washington resi-dents for many years, some all their lives. As of December 13.1945, the balance sheet of the Evening Star indicated its capi-tal! stock and surplus to be $5,642,511.57. The capital 111111 stir -1111114 of the applicant as of December 31, 1945, watt $316,032.74.The applieent is the licensee of station WNIAL in Washington,which is an affiliate of the American Broadcasting Company net-work. It is proposed to affiliate the television station with somenetwork but no 1.01111111tmenta have been made in this regard.

2. The applicant has an option for the lease of a site lit thecampus of Anwriean University located at Massachusetts andNebraska 41%411111PM, N.W., Washington, I). C., on which it wouldbuild a transmitter, station and tower for television and FM.By agreement the applicant's facilities will be made available tothe university for instructional purposes. The university will beallowed to broadcast without cost programs in furtherance ofits educational program. A studio would be built on the campusin a building coating between $50,000 to $60,000, while the costof the other technical improvements on the university campus isesttimated at $180,040) to $190,000. Applicant has purchased asite at the corner of 12th and K Streets, NAV., Washington,I). C., on which it intends to erect a million dollar office build-ing to house its present AM operations and any television andI.'M operations it may have. Studios here would cost $100,000.The 5000 microvolt contour, assuming a radiated power of 14.25kilowatts, will embrace over 816 square miles with a populationof 891,421. There will be included within the 500 microvolt con-tour, 3,930 square miles with a net coverage of 1,082,936 people.These calculations are based on the use of Channel 4, 66-72megacycles, which was requested by the applicant.The paper has authorized the purchase of 1111 or any part of anissue of bonds by the applicant in a total amount not to exceed$800,0041, when and as the same may be offered by the broad-casting colapany. No public offering of these debentures is con-templated. Further unsecured loans from the paper to the appli-cant are also authorized. To 111171111P the cost of its new milliondollar building, a mortgage already over -subscribed will be takenfrom local Washington banks in the amount of about $700,0010to $750,000. The estimated cost of the first year's operations arefrom $300,000 to $500,000. No estimates of future revenue hovebeen made.

I. Avian -alit has never owned or controlled the operation of a tele-vision station. It plans to use its present AM staff, supplement-ing it with whatever personnel is necessary. If the televisionoperations are separate it estimates it would need 42 people inthe program department and 30 engineers. The cost of the addi-tional personnel Is estimated at $216,4)00 a year. No televisionprogramming plans have been made 011 the grounds that theapplicant prefers in the beginning to experiment with all typesof programs rind techniques. Its general manager has had radioexperienee in Washington for the last 23 years and It is pro-posed to have a balanced program with proper emphasis on localand public events. For some time all programs will be sustain-ing and originate only in Washington.

*Applicant did not submit figures as to coverage at the hearing. The figures usedin this finding are those contained in the application.

March, 1946 37

Broadcasting CompanyI. The Noliolial broatleasting Company, Inc., is a wholly -owned

subsidiary of Radio Corporation of America. NBC owns andoperates six stations engaged in AM broadcasting-includingWRC, Washington, D. C. - an I'M station in New York, andone television station, WNBT, New York. In addition, NBCoperates a number of shortwave broadcasting stations and a net-work of about 155 affiliated AM stations. A consolidated balancesheet of RCA and Its domestic subsidiaries as of November 30,1945, indicates its capital stock and surplus to be worth893,951,258. A preliminary balance sheet at December 31. 11145,shows the capital stock and surplus of the applicant as 88,614,-9611.60. NBC has plans for a national television network of hide -Pendently owned affiliated stations. Applications have been filedfor television stations in Cleveland, Chicago and Los Angeles.as well 118 the instant application. Applications have been filedfor FM stations in Washington, D. C., Cleveland, Chicago, Den-ver and San Francisco.In December, 1941, National Broadcasting Company received aconstruction permit for a commereial television station that wasto be located at the Wardman Park Hotel in Washington, D. C..the site of its experimental station, whose license lapsed inJune, 1942. The construction permit for the commercial stationwas surrendered because the war ninthe it impossible to completethe station. The presently proposed station is to be located atthis same site, the Wardman Park Hotel, on which the applicanthas an option on space for a transmitter, studio and antenna.I'lans have been made and the proposed cost of the transmitteris 8117,000, audio -video facilities, $106,000, live talent theater.691.700, and field equipment, 860,4)00. Architectural costs are tobe 8140,000. Additional studio space will be used in applicant'spremises on 14th Street and New York Avenue, N.W., Washing-ton. D. C. The 5000 microvolt contour, assuming a radiatedpower of 13.3 kilowatts, will embrace 575 square miles with apopulation of 850,000. There will be included within the 509microvolt contour 3,37(1 square miler; with a net coverage of1.153,1.114k people. These calculations have been made for Channel4, 66-72 megacycles, which has been requested by the applicant.

3. Applicant has hail extensive experience in the technical and pro-duction 21 Of 11111111$11411. It will have avallable many trainedpersons to operate the proposed Washington station. A detailedplan fur /1 large staff has been completed and ninny experiencedpersons who will occupy supervisory positions have. already beennamed. Applicant's general manager in Washington has hadmany years of radio experience in NVashington.

4. Applicant has made available the total sum of 8520,000 for theinstallation of its Washington television station. Its estimatedoperating expenses for a 28 -hour a week program of networkoperation is $01 unit per month ; for 67 hours a week, 8113.438per b. Its esti ml revenue, based on ft hours of opera-tion per week, is 825,972 for the first year. Deficits will he modeup from regular operating funds 11 1111 surpluses of NBC.

:P. Applicant has made plans for a minimum 28 -hour weekly pro-gram which will 11111k11 IMP of its experimental facilities and pastexperience in both production and transmission. The programwill Mehl'''. local alai public events. 1ssi will 1111 made of the

for its network to televise originatingfrom outside of Washington.

Fhiico Products, Inc.I. Phuee 1.110111.1s. Jae., is :a wholly Ott subsidiary of the Nalco

Corporation, manufacturer of radio /11111 other electrical appli-atoms. including television receivers. Phillip Products is thenational distributor of the parent manufacturing corporation andhas a special division to handle broadcasting operations. The bal-ance sheet of Piffle° Corporation at December 31, 1944, showeda Paid capital stock and surplus of 816,696,595 while that ofPhileo Products showed a capital stock and surplus of 89.671.-711, which should be added to the undetermined 1945 profit titshow its present financial status. With few txceptions, the offi-cers of the two corporations are the some and the directors ofboth are exactly the same. Twelve persons or firms own morethan 1% of the total stock, 1,372.113 shares, of which thelargest ladder is Cross and Co. with . Applicant owns andoperates at commercial television station W1"17. in Philadelphia.Except for the latter and the prom, spell Washington station, itdoes not intend to own or operate tiny other commercial tele-vision stations. It hits at present an experimental television sta-tion in Philadelphia, 18 experimental television relay broadcastlict.nses and special temporary authorizations for a test trans-mitter and two point-to-point communication systems. It willconnect the Philadelphia and Washington stations either Icy itsown relay system in which it has already invested 8150,000 Orby coaxial cable.

2. Applicant has purchased a site in Arlington County, Virginia111/011 11:11101 it proposes to erect at a cost of 8167,000 a building111 110111411 its television station, 'minding transmission and someof its studio facilities. Its antenna will be Molted on a toweralready erected on the site. In addition to these facilities at

studio in downtown Washington will be obtained. The total eostincluding building, transmission and studio futilities and pickupiquipment for the proposed station is estimated at 87.28,423.The 5000 microvolt contour, assuming a radiated power of 3.34kilowatts, will embrace 3541 square M11414 with 11 population of847.000. Within the 500 microvolt contour there will be ineluded2,11411 square miles with a net coverage of 1002.1i6ii people.These ealculations 1111111 been 1111111P for Chit iiiii .1 4, 60-72 mega-cycles, which Luis been requested Icy the applit.ant.Applicant has had extensive expellent... in the technical andproduction aspects of television. It v111 !MVP 11 V11 1111 Me manytrained persons to operate the promised Washington station.It has made plans for a technical and production staff ofpeople at maximum operation. In the beginning a s .W1111 1

smaller staff of about 135 is expected to he adequate for satisfactory se nice. A local resident, as yet unengaged will he em-ployed as general manager.

4. Piffle° Corporation will furnish such sums as will b1 necessary toconstruct and operate applleanC. proposed station. Its monthlycost of operation is estimated at 861,500 per month or about$750,000 a year. No estimate has been made of rev fromoperation of the station but a max in ceiling of 60% 1111 sheenset on commercial programs.

5. Applicant has made plans for a weekly program of 37:14 hoursat full-fledged operation and will make use of its experimentalfacilities and past experience In both production and transmis-sion. The program will im.ltitie both local and public events.Progra ins origina Ph i la :1..1 ph in will be presented inR'nshington.

Conclusions of Law

1. The Commission has consistently held that where the numberof applieants exceeds the facilities available, in choosing amongthe applicants preferencewill be given other factors being sub-stantially equal to local interests. In the Commission's opinion,maximum opportunity for local expression and development ofcommunity activity is afforded by licensing local persons wilt,are qualified rather than persons from other cities. In this 01811,the Evening Star Broadcasting Company is the only local inter-est. The Capital Broadcasting Company is tlw licensee of alocal illation hut all of its stockholders reside in Baltimore, andaside Dont their interests in WWDC have their business inter-ests outside of Washington. As to the Evening Star Broadcast-ing Company, it has selected a transmitter site which willrender service to the entire metropolitan area of Washingtonand 11104 made extensive plans for downtown studios. It is wellequipped financially to undertake the construction and operat-thin of a television station. Although it has had no experienct.in the operation of a television station, it has had extensive..\perienee in the operation of an AM station in Washington.Th.. Commission concludes that the Evening Star Broiplcastingcompany Is qualified to operate a television station. The Com-mission also concludes that since the Evening Star Broadcast -lug Company Is composed of local people, public interest, con-venience, or necessity would be served by the issuasp.e of aconstruction permit to it.The remaining tIve applicants foil into two groups. In the firstgroup is Ita Itroathasting Strviei. and Capital Broad-casting 1'..iiipai.y wide': are not the licensees of any emu-nitrcial television stations -and in the, second group areNational Broadcasting Company. Allen B. Dullont Laboratories.Inc., and Phileo Products, each of which is the licensee of onecommercial television station. The Commission is of the opin-ion that where there is a elioit, Iwtereen two applicants, 011111of W110111 11118 11 ieleViS11111 1 111111 another which does not,public interest is better S111'1'141 by granting it license to thenewcomer other factors ising substantially equal rather thanto theperson already having a television station. Coder thispolicy,it ispossible for the ma imam number of qualified peo-ple to 'participate in television and not have it restricted to afew large interests.

3. Considering the application of Ihtnibt.rger Broadcasting Serviceit appears that it has selected as transmitter site which willrender service to the entire metropolitan area of W/11411ingion.

It is well equipped financially to undertake the constructionand 01m -ration of a television station. Although it is not. andhas out been, the licensee of 11 111111111411111 14 111 11/11, Its personnelhave acquired 111;perloirte in television operations through psi.-si.utillion of television programs over WARD and Witou. Thecatamh:shm ..,aehales that the Bomberger Broadcasting Serviceis qualified to operate a teIevis' station The Commission alsoc 'hides that since the Bomberger Broadcasting Service hasno other felepision station public interest, (4/11V111 14111141 or 1111(11114-sity would be served by the issuance of a construction permitto it.

1 As to the Capital Broadcasting t'oimany, it appears that it has,..1 11141 11 1 111 11$1111 ler site which will render service to themtir itotropolitan area of Washington. While its proposedtelevision manager has had 14011111 experience in television opera-tions, tile organization as a whole seems to have very littleexperience in the operation of a television broadcast station inWashington. It has had experience in the operation of an AMstalion in Washington. A serious question arises in the ease Ofthe financial qualifhations of Capital Itroadcasting Co. 011 thebasis of its present Italance sheet, Capital Broadcasting Co. is1.11111pdolly pot financially qualified to operate a television sta-tion, and although it proposes to sell time on its televisionstation at an early date, admittedly this will not be enough tosupport the operation of the station. In order to meet this deli-tieney, the prim.ipal stockholder luta proposed to make exten-sive loans to the station, to forego agency commissions for Dn.sale of time on WWDC, and to waive any salary from the sta-tion. In addition. the manager of the station has prolapsed, ifnecessary, to take a salary reduction of $10,000 a year. Econo-mies in the operation of the station are also proposed. Even thiswill not produce sufficient revenue unless WWDC is capable ofmaking 880,ti0ic a year before taxes. Applicant has stated thatit 114.114.i -es it can make 141101 a profit despite the fact that it hasnever made any such profits even during the war years whenit has sold as much as 70 to 75% of its Ilan'. The commissionis of the opinion that on the basis of the foregoing (nets, seri-ous question Is raised concerning the financial qualifications ofCapital Broadcasting Co. to construct and operate a commer-

' The population estimate contained in this finding is based upon the 1940 census.Applicant utilized figures based upon estimated population for the District of Co'um-bia as of July 1, 1944.

38 Television

clot television station at this time. The ability of CapitalBroadcasting Co. to construct and successfully operate a televi-sion station depends too much upon the ability of Station WWDCto earn money at higher rate than it has ever earned before.The Commission is of the opinion that with the repeal of theexcess profits tax, with the greater availability of facilities inadvertising media competitive with radio, and with the expecta-tion that in the near future the Commission will license asmany as 12 FM stations in Washington, it is extremely doubt-ful that WWDC can maintain such a high earning rate withoutunduly degrading its program service. In addition, the success-ful operation of a television station by Capital BroadcastingCompany Is dependent to a great extent upon the applicant'sability successfully to sell time on its television station at anearly date and on its ability to maintain its operating expensesat a point substantially lower than that suggested by any ofthe other applicants. The Commission is of the opinion that itis much too early at this stage to predict with any accuracywhat the operating revenues of television stations are goingto be. The Commission is not convinced by the showing madeby Capital Broadcasting Company that it will be in a positionnot only to construct its television station but to operate itfor several years in the event that television should not getstarted as quickly as the applicant thinks it will, or in theevent that it should not he possible to operate WWDC as prof-itably as applicant prediets. In view of these facts and in viewof the fact that there are other applicants who are well quali-fied to construct and operate a television station in Washingtonat this time, the Commission does not believe that public inter-est, convenience, or necessity would be served by the issuanceof a construction permit to Capital Broadcasting Company.

5. That leaves the choice for the two remaining television channelsbetween National Eroadeasting Company, Allen B. DuMont Lab-oratories, Inc. and Philco Products, Inc. The first two each owna commercial television station in New York City, and Philcois the licensee of a commercial television station in Phila-delphia. All three applicants have extensive experience in tele-vision and all three would be qualified to construct and operatea television station in Washington. On the basis of the sitechosen National Broadcasting Company and Phileo Products.lac. would render service to a substantially greater area andpopulation than Allen B. DuMont Laboratories. Inc. As a mat-ter of fact the coverage proposed by the DuMont station.amounting to 98.5% of the population in the metropolitan areaof the District of Columbia is smaller than that of any otherapplication involved in this proceeding.

6. The importance of Washington as an origination center of pro-grams for a television network was stressed at the hearing.Since Washington is the nation's capital, there are ninny im-portant events occurring here which are of great interest toaudiences throughout the United States. The Commission is ofof the opinion that the effective operation of a nation-widetelevision network will be greatly aided by network ownershipof a television station in Washington. It should be noted thatthis finding is limited to television only where much develop-ment and experimental work remains to he done. Nothingherein said is to he construed as a finding concerning networkownership of AM or FM stations. National Broadcasting Com-pany has proposed a television nation-wide network and has hadextensive experience in the operation of a nation-wide AM net-work. Phileo proposes to conduct an experimental relay servicebetween Philadelphia and Washington but has no plans for anation-wide network. DuMont has no plans for a nation-widenetwork hut expects to connect its New York station into a net-work with television stations in Washington, Pittsburgh. Cleve-land and Cincinnati. if these applications are granted. TheNational Broadcasting Company application for a television sta-tion in Washington should, therefore. be preferred over that ofPhilco and DuMont. So far as Phileo is concerned the owner-ship of a television station in Washington is not associatedwith the operation of a net work. PV-ept possibly to connect itsWashington and Philadelphia Stations. So far as DuMont isconcerned. while it does have plains for a network, it is onlyof a very limited sort and Is to be composed of apparentlyonly five DuMont stations and not of many independently affili-ated stations as in the ease of National Broadcasting Company.Moreover, as has already been pointed out, the site proposedIn the DuMont application is substantially inferior to that pro-posed by National Broadcasting Company. Accordingly, a con-struction permit should issue to National Broadcasting Company.

7. This leaves the choice for the final channel between DuMontand Mateo, both of which are qualified to construct and operatea television station in Washington. In favor of DuMont is thefact that a Washington outlet would be of assistance in con-nection With the network operation which DuMont proposes.In favor of Millen is the fact that the site it proposes is supe-rior to that ploposeil by DuMont. Also. the ownership of astation ill Washington would be helpful in connection with theexperimentation being conducted by Philco in relaying programsbetween Washington and Philadelphia. The Commission is un-obi. at this time to make a choice between Millen and DuMontand accordingly defers a decision on this point until after theconclusion of oral argument on this proposed decision in whichPitney) and Du Mont may present their views.

8. The Commission is not unmindful of the fact that a grant ofthe DuMont application would make possible the establishmentof a commercial television service in Washington at an earlierdate than is otherwise possible because Dumont is already op-erating an experimental station in Washington. The Commis-sion believes that this factor should not he controlling for tworeasons. In the first place, the Commission has consistentlydeclared that the issuance of an authorization for an experi-mental station is for experimental purposes only. and may nothe used by the applicant as an entering wedge for securing alicense for a commercial station. Therefore. the application ofAllen B. DuMont Laboratories. Inc. must he considered on thesame hnsis as the other applieations- as though it were notthe licensee of an experimental station. In the second place,the establishment of television in Washington at an early dateshould be possible because Minolta] Broadcasting Company tinsall the P411111,111eat necessary for the installation of a televisionstation.

9. There remnins for consideration the question of what chan-nels should be assigned to the successful applicants. From theevidence at the hearing it appeared that equipment far Chan -

eels No. 4 and 5 will be available at an earlier (late than forChannels No. 7 and 9. National Broadcasting Company 118:4requested Channel No. 4 and has stated that it has on handthe equipment for that channel and that this equipment can-not readily be used on any other channel. In the interest ofthe early establishment of television in Washington. ChannelNo. 4 should be granted to National Broadcasting Company.So far as Channel No. 5 is concerned DuMont has applied forthis channel and could start operation at an early date if itsapplication were granted. Piffle() Products, Inc. has applied forChannel No. 4. However it does not have the equipment for thischannel on hand and although it states that it has such ...olio.ment on order, it should be possible to convert this equipineetfor operation on C11:111110 No. 5 as readily as on Channel N... I.Moreover, Philco Products 11118 its tower already constrtotedand if its application were granted it could proceed expedi-tiously with the construction of a station. Since neither Bom-berger Broadcasting Service, Inc. nor the Evening Star Broad-casting Company - the other two suceessful applicants haveany equipment on order or towers constructed. the C tttttt nissionis of the opinion that the early establishment of television inWashington will be advanced if Channel No. 5 is reserved forassignment to either DuMont or Philco. whichever is the sue-cessful applicant. This leaves Channels No. 7 and it. There ap-pears to be no substantial difference between these two ire-queneies. Channel No. 7 will be granted to the Evening StairBroadcasting Company and Channel No. 9 will be granted toBomberger Itroadcastin, Service.

10. All construction permits to be issued will he expressly eupon a showing that the transmitter site chosen com-

plies with the Rules and Regulations of the Civil AeronauticsAdministration.

NEW APPLICATIONSOne new commercial and two experimental applica-

tions were filed with the FCC last month. On the otherside of the fence, however, were four withdrawals, two ofthem from Detroit on the eve of hearings to determinewho would get the final allocations. (For 'Television Out-look in Detroit," see page 10.) WJR, The Goodwill Sta-tion, Detroit, and WGAR, Cleveland, both CBS affiliates.International Detrola, Detroit, and Yanker Network, Prov-idence. Mere the four who pulled 'tut .1 die vide() field.

COMMERCIAL APPLICATION

Toledo, OhioName-Fort Industry CompanyAddress --506 New Center BuildingOfficers-J. Harold Ryan, Vice -President and Treasurer

Estimated Costs1. Visual transmitter2. Aural transmitter plus tubes3. Antenna System4. Studio Equipment5. Studio Lighting6. F & M Monitors7. Building8. Other item

S

$ 60.000

14,00095,000

1,5003,500

10,0005,000

Estimated Total Costs $189,000Equipment-RCAChannel-#13Kilocycles -210-216 meESR-928Antenna

Height, sea level -841 feetHeight, ground level -241 feet

Transmitter location-R.F.D. #3. Perrysburg, OhioPopulation -453,886Size of area -2,760 square milesEngineering Consultant-C. M. Jansky, Jr., Washington,

D. C.

March, 1946 39

Lawyers-Fred Albertson, Don Lohnes & Albertson, D. C.Misc.: 60(i; commercial programs or 73 hours sponsored

a month; wants chain programs if available. Outsidepick-ups, 11; studio production, 60; film 50 - total121 a month. Fort owns WGBS, Miami: WSPD,Toledo; WLOK, Lima, Ohio; WWYS, Wheeling,West Virginia; WAGA. Atlanta. Georgia. Entertain.ment shows, 60i .

EXPERIMENTAL APPLICATIONSBoston, Mass.\ aloe Continental Television CorporationAddress -150 Causeway Street, Boston 14, Mass.Officers-Richard L. Campbell, President; Grant J. Holt,

Vice -President; Abraham Zimble, 11 Nichols Street,Chelsea, Mass.

Estimated Costs1. Vis. transmitter2. Aural transmitter plus tubes $ 20,0003. Antenna System 5,0004. Studio Equipment 15,0005. Studio Lighting6. F. & M. Monitors7. Land8. Building9. Other item

Estimated Total Costs for one yearoperation $ 52,000

Estimated Total Costs of researchprogram $100,000

6,600

Channels -7, 9 and 13 and selected frequencies 490-920mc

Equipment-Continental CorporationPower, aural and visual -250 watts.Misc.: Company primarily interested in development of

television on upper channels. However wants to ex-periment on lower bands to compare transmissions.Also propose to manufacture receivers. Program ofresearch will be headed by R. L. Campbell.Engineers supervising research: head, Richard L.Campbell - in tele development since 1920; directortelevision transmitter development at Allen DuMontLaboratories 1938-1942.Richard Mosher; Robert Wooley; Allen MacNee;Henry Wallman. Station wants to use pre-war stand-ards but at the same time experiment in ultra -highs.

Lancaster County, Pa.\ ame-Conestoga Television AssociationAddress-RFD #5. Lancaster, Pa.Officers-President. Philip A. Richards; Vice -President,

Ray Harnish: Secretary, Richard Voight; Treasurer.Hannah Moody.

Ownership-Non-corporate clubEstimated Costs

Vis. transmitter $ 750Antenna System 750

Estimated Total CostsExperimentation $2500

Operation Costs per month - first year $200Financing-contribution of association membersKilocycles -590-610 mcHrs. per wk. of operation --1 experimental operation only

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Transmitter location-Salisbury Township,County

Power, aural & visual -25 w; 100 w.Engineering Consultant-Formed as club, majority of

whom are engineers.Misc.: Chief Engineer, Eugene Hoffman. Purpose of ap-

plication for relay: to relay video programs pickedup from WPTZ and W3XE. "Relay only economicalway to extend tele service to Lancaster. Companyprincipals are a group of engineers planning to man-ufacture electronic tubes for receivers."Television is enjoyed in Philadelphia 65 miles away.We want to relay those programs to Lancaster, Pa."Have agreement with Philco.

HEARING SCHEDULEThe FCC has set a tentative schedule for hearings on

final allocations for television in the following elevencities. However withdrawals may change the picture be-fore the hearings take place.

Lancaster

City Date Date

Detroit

Harrisburg

Pittsburgh

Lancaster

Baltimore

Cleveland

New York

Los Angeles

New York

Philadelphia

SanFrancisco

March 25-Detroit

April 15-Harrisburg

April 15-Pittsburgh

April 18-Lancaster

May 6-Washington,D. C.

May 13-Cleveland

May 20-Los Angeles

June 3-Washington,D. C.

June 17-Washington,D. C.

June 17-Providence

July 15-San Francisco

5

1

4

1

3

5

7

4

1

6

channels -4 applicants

channel -2 applicants

channels -5 applicants

community chan-nel -2 applicantschannels -

4 applicantschannels -

6 applicantschannels -

13 applicantschannels -

12 applicantschannels -

10 applicantschannel -

1 applicantchannels -

7 applicants

j1

Igy TELEVISION

40 Television

You can eke

General MacArthur'sivordkrit./

"The Red Cross has done a 100 per centjob in this theatre. Mathematical limi-tations alone prevent my saying the RedCross services here have been more than

100 per cent."

-General Douglas MacArthur

S0 SPEAKS a distinguished eye -witness of yourRed Cross in action. General MacArthur saw

the Red Cross at your fighting man's side, allthrough the gruelling months of the Pacific cam-paign. He saw Red Cross men under fire on D -Daybeachheads-sweat it out in foxholes'-follow themen with candy, cigarettes and other comforts rightup to the firing line.

He knows that wherever your fighting man went,your Red Cross went, too-that wherever, wheneverhe needed respite and recreation, help with a per-sonal problem, or just someone to talk to, the RedCross was there.

He also knows, as you do, that your Red Crosscannot yet say, "Mission accomplished." It still hasan enormous task to do. With your help, it willcarry this task to a successful completion.

The War is over . . .

but another battle has begunYour Red Cross must now fight on three new bat-tlefronts. The thousands of our men still in vet-

YOUR Red Cross

erans' hospitals and in faraway lands overseasneed its comfort and cheer now, as they did whenthe bombs were bursting. And as our servicemenreturn to civilian life, your Red Cross must lendthem a helping hand.

And when disaster strikes here at home-fire,flood, tornado-your Red Cross must be ready withaid for 'the victims. Its war against human misery isnever wholly won.

But remember-it is your Red Cross. It dependson you for its very existence. So give from yourheart. Give generously. Give today!

MUST CARRY ON . . . 6/ve,

Prepared by the Advertising Council in Cooperation with the American Red Cross

...

NEW YORK

CHICAGO

LOS ANGELES

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WASHINGTON

YOUR TELEVISION STATION

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F.ClOPtati

...IS A JOB FOR DU MONT

Four of the ten television stations now operating in the United Stateswere built by the Allen B. Du Mont Laboratories, Inc. No other com-

pany has built more than one station. This fact speaks volumes.

It is especially important, too, since Du Mont's newest, most advanced

television broadcasting equipment sets new standards of video qualityand flexibility. Du Mont's 15 years of electronic and television "know-how" assure smooth, trouble -free efficiency at low operating cost.

If you are planning a television station, avail yourself of Du Mont'shighly specialized television experience. Incidentally, we have published

a down-to-earth booklet on "The Economics of Du Mont Television."We will be glad to send it to you-write on your firm's letterhead.

Copyright. 1946. Allen B. Do Mont Laboratorle,, Inc.

.--eZt4e-Pome-f a w. -a( 7-74e.e/e4e

ALLEN B. DU MONT LABORATORIES, INC., GENERAL OFFICES AND PLANT, 2 MAIN AVENUE, PASSAIC, N. J.TELEVISION STUDIOS AND STATION WARD, 515 MADISON AVENUE, NEW YORK 22, NEW YORK