OFFICIAL YEARBOOK OF THE AMERICAN TELEVISION SOCIETY, INC ( Digitized by the Internet Archive in 2017 with funding from Media History Digital Library https://archive.org/details/americantelevisi01amer “We’ll be bringing Television” “We in the Bell System now furnish the net¬ works for radio broadcasting and we’ll be on the job with networks for the transmission of television, too. “For nearly a quarter of a century we have kept pace with the radio broadcasting in¬ dustry, supplying network facilities where they were needed at the time they were wanted. We have acquired a wealth of ex¬ perience and skill in the minute-to-minute operation of these program networks. “As the television picture unfolds, our func¬ tion will be to transmit sight and sound B £ programs from place to place. We can do it over wire lines, coaxial cables, radio or com¬ binations of these. “We have made considerable progress in ex¬ tending our coaxial cable system, which is particularly adapted to television, and we in¬ tend to develop it rapidly toward a nation¬ wide coaxial network. Micro-wave radio-relay is another way we will have to carry television programs. “We intend to use the best, most depend¬ able and most economical means possible to meet the transmission needs of television.” LL TELEPHONE SYSTEM 1 M ost of us have concluded from the events of 1945 that it is imperative that foreign hates and suspicions must be supplanted by trust and understanding if life in the future is to be worth living. Television holds the promise of being the medium that can bring the peoples of far places emotionally face to face with one another’s manners, customs and problems and thus make them understand that they are all essentially human. The first realization of this design depends on the establishment of national networks to gather the peaceful spirit of America and international net¬ works to send it world-wide. Probably no one can at present accurately predict the ultimate physical means of accomplishing these national and international objectives and bringing to realization television’s “one world” possibilities. Any facilities which may be developed and any technique which showmen may know must be available to our statesmen, churchmen and educators to carry that message to the world. ^Jc/c via ion C/> reduction/) Jnc. 2 THE 1946 AMERICAN TELEVISION DIRECTORY FIRST ANNUAL EDITION Published by AMERICAN TELEVISION SOCIETY, INC. 271 MADISON AVENUE, NEW YORK 16, N. Y. © 1946, American Television Society, Inc. 3 Clients Now Regularly Sponsoring NBC Television GILLETTE SAFETY RAZOR CO., INC. RADIO CORPORATION OF AMERICA FIRESTONE TIRE AND RUBBER CO. PAN AMERICAN WORLD AIRWAYS ELGIN NATIONAL WATCH CO. UNITED STATES RUBBER CO. WALTHAM WATCH CO. BULOVA WATCH CO. IN LESS TIME THAN YOU PERHAPS SUSPECT. That’s why there'll never be a better time than noir — to gain a practical, working knowledge of this complicated sight medium. There’ll never he a better time than now to equip yourself to make the most successful commercial use of television, to adapt your adver¬ tising skill and experience to this new medium. Today it is still possible to learn how to adapt your advertising techniques to sight transmission — for only negligible expenditures. We’re ready to work with you — whenever you're ready to step into television. The same NBC program, production and technical expertness already winning trade and audience applause for NBC television is available to help you solve your video problems. NBC TELEVISION NEW YORK Television Channel No. 1 NATIONAL BROADCASTING COMPANY A SERVICE OF RADIO CORPORATION OF AMERICA 4 AMERICAN TELEVISION DIRECTORY AND OFFICIAL YEARBOOK OF THE AMERICAN TELEVISION SOCIETY, INC. FOREWORD ■ HIS is the first American Television Directory and Yearbook. It is also the first com¬ prehensive roster and handbook of a great new industry poised on the threshold of swift peace¬ time expansion. It is fitting that this Directory should be sponsored by the American 'Television Society — the acknowledged, organized voice of all fields directly and indirectly interested in the advancement of this magnificent new medium of communication, entertainment, education and sales promotion. The Society — with its large membership — has long provided a valuable forum for the industry. 'This Directory — by offering a vast amount of television information in easily available form -will provide a focal center of 1946 television activity. The Board of Directors of the American Television Society wishes to express its gratitude to the many members who have contributed so freely of their time and talents to make this Directory a truly useful inventory of television’s progress and potentialities. We are especially grateful to Buchanan & Company for allowing Ralph Rockafellow to serve as editor. Mr. Rockafellow’s long and successful career as an editor and advertising man, his almost limitless knowledge of television and its many problems, and his willingness to pitch in and get the job done eminently fitted him to fill this position. To contributors, advertisers and workers alike we extend our deep appreciation for their efforts in the advancement of television. AMERICAN TELEVISION SOCIETY, Inc. 3. George T. Shupert, President 5 IN TELEVISION DUMONT’S JOHN WANAMAKER TELEVISION STUDIO, STATION WABD SETS THE PACE! DuMONT TELEVISION engineers, who have designed and built more television stations than any other company, will soon complete the world’s largest television installation. They are now transforming more than 500,000 cu. ft. of the great John Wanamaker store in New York into the first "Television City." The largest studio (50' x 60' with a 50' ceiling) boasts 4 cameras— the first studio to be so well equipped. A balcony accommodates 700 spectators and a rear glass wall of the control room permits sightseers to watch re¬ hearsals and broadcasts. Two other "live talent” studios are equipped with 3 and 2 cameras each. Several cameras are mounted on a new type dolly providing extreme ranges of elevation and camera angle. A tele¬ cine studio has projectors for both 16 mm. and 35 mm. film. DuMont Television broadcasting equipment embodies all the flexibil¬ ity and refinements accruing from more than 4 years of continuous and increasingly elaborate programming experimentation. Simplified pre¬ cision control — the keynote of Du¬ Mont design— assures high efficiency and rugged dependability at low op¬ erating cost. DuMont leadership means adequate training of your tech¬ nical personnel, and the finest crafts¬ manship for the least outlay. Copyright 1945, Allen B. DuMont Laboratories, Inc. ALLEN B. DuMONT LABORATORIES, TELEVISION STUDIOS AND STAT INC., GENERAL OFFICES AND PLANT, 2 MAIN AVENUE, PASSAIC, N. J. ION WABD, 515 MADISON AVENUE. NEW YORK 22. NEW YORK 6 CONTENTS Foreword . George T. Shupert 5 Beyond Tomorrow — What ? . Brig. Gen. David Sarnoff 9 Sixty Million Jobs and Television. . . Paul Raibourn 10 Television’s Tremendous Promise. H. V .Kaltenborn 11 Is Television Tomorrow’s Radio? . Edgar Kobak 12 FCC Hopes and Expectations for Television . Paul A. Porter 14 Is Today’s Television Here to Stay?. . Wyllis Cooper 15 How Large a Screen? . Dr. Allen B. DuMont 16 How Will Television Handle the News?. . Ted Genock 18 College Sports and Television . Don Spencer 20 Will Television Debut in a Fool’s Paradise? . E. B. Weiss 21 What Will Your Tele-Time Dollar Buy? . Richard Manville 23 Proposed Routes for Relaying Television Programs (Map) . 24 The Bell System’s Plan for Tele-networks . Keith S. McHugh 25 Raytheon’s Microwave Relay System . Laurence K. Marshall 26 Pioneering a Tele-relay Network. .John Ballantyne 27 Stratovision Will Give Wings to Television . William K. Ebel C. E. Nobles Television Needs Normal Development. C. B. Jolliffe Why Advertising Agencies Should Guide Tele-shows . John Hertz, Jr. Progress in Color Television . Peter C. Goldmark PTM — A New Television Transmission System . H. H. Buttner An Engineer Compares Television with Radio . J. R. Poppele Packaged Tele-shows Will Up Quality . William Morris Sports for Millions by Television . Bill Slater Tele-sports Announcers Will Talk Less ..Bill Stern A Lawyer Looks at Television. . Bernard Goodwin The Economics of Television. . . .Leonard F. Cramer An Advertiser Looks at Television - C. J. Durban 28 29 30 31 32 33 34 35 36 37 38 40 42 Uses of Film in Television . John Flory 44 Television Audience Research . Oscar Katz 45 Television and Fashion . Constantin Joffe 46 Television in the Retail Field. . /. A. Hirschmann 47 Proceed With Caution . Norman D. Waters 48 Television Dollars and Sense . Philip Merryman 49 Discussion Programs Will Be Better . George V. Denny, Jr. 51 Television Jobs for Veterans . 54 Television Out West . Klaus Landsberg 56 Televised News for Theater-goers. Alfred B. Burger 57 A Mixed Blessing? . Quincy Howe 57 Top-flight Shows Are Not Accidents . Ed Sobol 59 Basic Fundamentals of Visual Continuity . Hoyland Bettinger 60 History of the American Television Society . Myrtle Ilsley 68 The ATS Awards . J. Raymond Hutchinson 69 Executives of the American Television Society. ... 71 By-laws of the American Television Society . 74 Guessing About Television . Lowell Thomas 76 Members of the American Television Society . 79 Television Stations and Pending Applications . 86 Market Analysis of Television Station Allocations 92 Broadcasting Service in 140 Metropolitan Areas... 94 Television Activities of Advertisers, Advertising Agencies, Producers, Stations and Organizations 96 Careers in Television . Dan D. Halpin 110 Advances in Large Screen Television . Ill Television Vocabulary . 112 Television Progress (Chronology) . 119 So They Say . 123 Televictims . Gregory d’Alessio 125 Bibliography . 129 Films for Television Use . 135 A Movie Cameraman Looks at Television . Irving Browning 140 Facing Television . Bob Hope 141 Publications Reporting Television . 142 Cover . Larry Tisdale Ralph Rockafellow, Editor * SYMBOL of the Electronic Age: NBC's sight (cross-bars) and sound (ring) transmitting antenna atop New York's Empire State building. LIVE TALENT in action. Abe Lincoln courts Ann Rutledge in WNBT's fine presentation of Robert E. Sherwood's "Abe Lincoln in Illinois." DRAMA: WNBT presents "The Black Angel" — but studio visitors sense still greater drama in the action of iconoscope cameras, microphone boom and flexible light banks, cleverly, swiftly and silently manipulated to catch every changing mood, and catch it artistically. 8 BEYOND TOMORROW -WHAT? The “ether” is still a half-discovered wilderness with endless opportunities for exploration both in the vast¬ ness of space and within the infinitesimal electron. By BRIG. GENERAL DAVID SARNOFF. President, Radio Corporation of America Fifty years have passed since the epochal experiments of Marconi laid the groundwork for radio and in this time the world has been amazed by the continuous growth of radio communica¬ tions and by the benefits which peoples of all nations have gained from these expanding developments. Even greater and more spectacular advances should be made in the next fifty years. Cer¬ tainly, the prospects and promises, as we view them today, justify the highest optimism in this respect. Our vision of the future, sharpened particularly by the wartime perform¬ ances of radio, our faith in scientists who will create new instruments and new services, and our confidence in the American spirit of enterprise and ini¬ tiative will continue to lead the way to new and greater destinies in television, radio and associated fields. Television promises to take the lead in the radio industry as sound broad¬ casting did a quarter of a century ago after World War I. How rapidly this transition will occur is a subject always open to revision, for the problems of creating and maintaining a nationwide television service involve financial and political considerations as well as tech¬ nical. Long before V-J Day, science had laid the groundwork for the new tele¬ vision service. The end of the war was the go-ahead signal. The pace of prog¬ ress will quicken rapidly as facilities become available. By 1970 — 25 years from now — broadcasting may be known as telecasting because of the standard¬ ized combination of radio sound and sight. Eventually, television will reach every area of the globe now covered by sound broadcasting. Television Is Tomorrow's Radio More than 50,000,000 broadcast re¬ ceivers are now in American homes. The day will surely come when all of them will be replaced by receiving sets which can see as well as hear. Those who purchased a “radio music box” in the early days of broadcasting enjoyed concerts, lectures, music recitals and sports events which were adver¬ tised as “going on in the nearest city.” Within the next decade or two, those who acquire television receivers are destined to go sight-seeing by radio to cities across the continent and even across the seas. Through the magic “window” of television, rich and poor alike will see, not only the small world around them but the larger sphere of which they are a part. Television, faced from its inception with obstacles so formidable that some engineers doubted that a practical sys¬ tem could be developed in less than a quarter century, already has proved its technical soundness. The flickering, poorly illuminated peephole receiver of mechanical television in the late ’20s has developed into the latest model electronic television receiver with its large screen image, equal in brightness and resolution to 16mm. home movies. Television no longer is a scientific toy; it promises a new service of entertain¬ ment for the family, a service that will become as essential to the average home as the present broadcast receiver and the telephone. Radio broadcasting came of age when programs were made available to list¬ eners in distant cities through network lines. To provide similar network facili¬ ties for television, thousands of miles of interconnecting systems, using both radio relays and coaxial cable, must be established. Portable Television Sets Speeded by pressure of war, develop¬ ments in electronics will be reflected in new and better communication devices and systems. Television has been im¬ proved by the intense application of science to the perfection of radar and similar weapons. New types of tubes, the results of wartime research, will have their counterparts in television receivers. These will provide better pic¬ tures, ultimately in full color. They will decrease the size of television receivers, eventually, perhaps, making possible portable television sets which can be carried around as easily as the popular “personal” radio of today. Other radar research, applied to peacetime uses, will result in television cameras so sensitive to light that any scene which the human eye can perceive by day or night can be reproduced in the home with the same clarity and detail as the original. Exploration of the very high fre¬ quencies, an area which was a sort of electronic “no man’s land” before 1938, has shown the great use that can be made of that portion of the spectrum. It is probable that not only television but numerous other services as well, will find it advantageous to move to the very high frequencies and thus pro¬ vide improved service to the public. Now that radio can see as well as talk, the art promises most interesting employment opportunities. Directly and indirectly, the industry will need the minds and hands of many thousands of people, including technicians and arti¬ sans, business men and industrialists. It will call for producers, cameramen, directors, musicians, film experts, scenic designers, advertisers, merchandisers and many other skills. invitation to Youth But television does not exhaust the possibilities of radio today, any more than broadcasting marked its limit in 1920. There are still endless opportuni¬ ties for radio research and for the ex¬ ploration of space. The “ether” is still a half-discovered wilderness. It invites young men and women with new ideas to continue pioneering, to learn the secrets of Nature scattered in the vast¬ ness of space or hidden within the move¬ ments of the infinitesimal electron. Equally important are the by-prod¬ ucts of television. Much is still to be learned of the part which television de¬ vices will play in marine and aerial navigation, by permitting vision at night or in fogs through the use of infra-red rays; in metallurgical, chem¬ ical, physical, and biological research; in manufacturing processes as substi¬ tutes for human vision or for control processes; in national defense; for ad¬ vertising or display use in department stores, in showing goods exhibited at a central point throughout the store or in show windows ; for personal or business communication in transmitting visual intelligence as we now transmit the voice by telephone; in printing and copying devices; in new photographic or motion picture devices where “light amplification” may be used to advan¬ tage; and in many other fields where an automatic, never-failing substitute for the human eye will prove useful. ( Continued on page 140) 9 OUR PROBLEM In 1929 11,059,000 workers — at 1939 prices — pro¬ duced $17,800,000,000 worth of goods. In 1944 16,300,000 workers — at 1939 prices — pro¬ duced $43,000,000,000 worth of goods. Query What medium other than television can be the mass salesman for mass production? When gas rationing was over, a seven-year-old girl received her first- remembered 100-mile automobile ride across the lovely New England coun¬ tryside. She exclaimed delightedly over the ever-changing vistas. She was amazed to discover that there were gas stations everywhere with attendants eager to serve. She expressed her de¬ light in the fact that automobiles could be used for something besides transpor¬ tation to store, church and school. Here, compressed in a few hours, is an experience which many of us went through in the period 1900 to 1930. We hardly realized then that anything was happening to us. But looked at from the vantage point of a few hours’ distance, the acquisition of a new standard of living and new outlook is a tremendous adventure. In like manner, most of us have sel¬ dom stopped to analyze what has hap¬ pened to life in the United States in the last 75 years. We do not inquire into the basic reasons why many unu¬ sual and advantageous things have happened to us. Seventy-five years ago, there were produced for each inhabitant of the United States, physical goods worth about $200 dollars per year, figured at 1939 prices. In 1941, our last prewar year, the comparable figure is around $800. The most commonly quoted explana¬ tion of this unusual growth is “mass production.” But sober thought will convince one that this really explains little. Before the products of “mass pro¬ duction” could be sold there had to be a means of communication which would make people desire the products of such concentrated mass effort. There had to be a means of national advertising to SIXTY MILLION JOBS . . . AND TELEVISION _ By PAUL RAIBOURN President, Television Productions, Inc. Economist, Paramount Pictures, Inc. allow everyone to know and appreciate a large factory’s products. This rise in worldly goods available each year to each of us has been paralleled and pre¬ ceded by a corresponding increase in postal receipts, the growth of magazines and of national advertising. To national advertising which, in a great measure, sponsored the others, must go much of the credit for making mass production possible and causing our per capita income in physical goods to increase so unusually. Those who are still doubtful as to these relationships should ponder for a moment on these facts: postage stamps were first authorized in 1847 ; city de¬ livery service in 1863; rural delivery in 1896; and parcel post in 1913. The “Chic Sales” encyclopedias — Sears Roebuck’s and Montgomery Ward’s catalogs — were products of the last decades of the eighteen hundreds. Production has risen just as fast and only as fast as demand existed which wished to be supplied. It will, in the future, continue to rise just as fast and only as fast as demand for its products increases. These last two sentences will be true whether we are functioning under an individualistic free or a man¬ aged economy. Jobs for All Who Wish to Work There is now much discussion of 60,- 000,000 jobs for Americans. Our able and analytical Secretary of Commerce, Mr. Wallace, is the apostle of the idea that we must reach that level of econ¬ omy by 1950. This figure appears to have been first used by the late Presi¬ dent Roosevelt in a speech at Chicago in October 1944. He probably selected it because it represented a figure some¬ where near the total of the number of people gainfully employed in the United States or in its military service at that time. It meant a job for everyone in military service and a level of employ¬ ment, as we all well know, where prac¬ tically everyone desiring it could have employment at a wage rate satisfactory to him. It thus represented the natural goal of an individual who never allowed custom or precept to cause him to swerve from his responsibility to all of the people. There are certain figures available, prepared by reliable sources, by which employment in the 1944 period can be judged in comparison with previous periods. The years chosen here are a period of prosperity, namely 1929, to which many look back with much long¬ ing; a prewar year, 1939, before our economy was modified by war, and 1944. Employment Peaks Compared Number employed (000’s omitted) Last pros- Last pre- 1944 perity period war year Partly 1929 1939 estimated Agriculture . .10,539 10,739 10,250 Forestry and Fishing . 267 198 175 Minerals . . 1.067 707 650 Manufacturing . .11,059 10,517 16,300 Construction . . 3,340 1,610 1,100 Transportation . . 2,465 1,871 2,800 Public Utilities . . 1.167 934 1.000 Trade and Finance. . . . 8,007 7,511 7,400 Service Industries . . . . 6.403 6,256 6,600 Government (prewar basis) . . 2,337 2,984 3,500 Miscellaneous . . 1,012 928 1,400 Total . .47,663 44,255 51,175 Emergency Government Labor Force — CCC, WPA and NYA . — 2,959 Military . . 263 369 11,500 Government (war extras ) . • — — 1,042 Total employed . .47.926 47,583 63,717 Population . 121,300 130,880 137,000 Percentage employed. 39% 36% 46% The Census Bureau estimates a pop¬ ulation of 143,000,000 in 1950 which, on a 60,000,000-job basis means an em¬ ployment of 42 per cent. To many these questions will arise: Where did the people come from who were at work in 1944? and where were they in 1939 and 1929? As the answers have a bearing on our future conclu¬ sions with respect to television it is well to digress a moment to explain. The Census Bureau figures for 1940 show the make-up of our population as follows: (000’s omitted) Male Female Total Under 15 . 17,753 17.240 34,993 15-19 . 6,180 6,153 12,333 20-65 . 38,749 38,596 77,345 Over 65 . 4,406 4,614 9.020 Total . 67,088 66,603 133,691 In 1939, there were around eleven million women employed. There were relatively few males or females em¬ ployed in the 15-19 year and over-65 year groups. So, when we have nearly 64,000,000 employed in late 1944, this means that the extra wage earners came, probably as many as 4,000,000 to 6,000,000, from the 15-19 and over-65 10 TELEVISION'S TREMENDOUS PROMISE By H. V. KALTENBORN NBC Commentator Television can only become a great social force if those who control it have a proper sense of social responsibility. Neither radio nor the moving picture has yet performed that full measure of social service of which each is capable. For some years to come, television will be far less profitable than either. The tempta¬ tion, therefore, will be to subordinate public service to private profit. That tempt¬ ation must be resisted. The infinite possibilities of this new medium of sight and sound must be fully utilized. Television can enrich our lives by providing better information, better education, better entertainment. It can give us intimate personal contacts with our national leaders. It can both explain and illustrate the grave national problems on which we are asked to pass judgment. It can make us more conscious of the integrated postwar world in which we live. It can bring the latest advance in human culture and the last word on scientific achievement into the home. It can do this in a more convincing way than is possible for any other medium. As the man who first used radio to explain and analyze current events, I hope it will also be my privilege to utilize this much more vivid medium to translate to the eyes and ears of the great American public the kaleidoscopic changes of our postwar world. male groups and some 10,000,000 to 12,000,000 from the female group. Certainly, after the war there should be little reason for the 15-19 and over- 65 age groups to work. By 1950, the 20-65 age male group will have in¬ creased by 8 percent to 43,000,000 leav¬ ing 17,000,000 employed to come from other age groups and from the female list (as compared with twelve million female employed in 1939) to reach an employment ievel of 60,000,000. This means we must either (1) increase em¬ ployment in proportion to population and also add 5,000,000 more jobs by increased production and distribution or (2) spread jobs through shorter hours. Any increase in military forces over the 369,000 in 1939 will be an additional offset. Product Valuation 1$ Important The most interesting fact about the employment statistics quoted for 1929- 1939 and 1944, is found in the agricul¬ ture and manufacturing figures. The trend in agriculture is down slightly; in manufacturing it is down in 1939 and up in 1944. But if one examines “value of prod¬ uct” for each year, reduced to 1939 dol¬ lars in Department of Agriculture and Bureau of Labor Statistics indices, he arrives at a very different figure — and sees the proportionate contribution to national income. Agricultural Manufacturing Production Production 1929 . $4,560,000,000 $17,800,000,000 1939 . 5,230,000,000 16,965,000,000 1944 (est.) . 7,200,000,000 43,000,000,000 In other words, an equal amount of human effort in agriculture through this period showed an increase of over 50 per cent in production. And a 60 per cent increase in human effort in 1944 over 1929 (after taking into account relative hours worked) resulted in an increase of two and one-half times in manufactured production. Many people have seen this situation. To quote Walter P. Reuther, CIO vice president: “We have mastered technol¬ ogy and possess a complex, high octane B-29 production machine. But our pro¬ ductive genius has always been stale¬ mated by our failure at the distributive end.” Paul H. Appleby, formerly Under Secretary of Agriculture, stated it was the conclusion of the International Food Conference at Hot Springs, Va., that the problems of agriculture were not in farm production and that the world could be better fed if the proportion of the world’s productive man hours going into agriculture were reduced and this surplus devoted to distribution. Advertising Lifts Living Standards We must conclude that the machinery of large-scale production, which came into being as a result of advertising and the rapid distribution of informa¬ tion, has shown a remarkable ability to outrun its progenitors. Of course, a cer¬ tain amount of goods and services, food, shelter and clothing, at least the min¬ imum for subsistence, will be purchased without any advertising or other me¬ dium for acquainting people with their existence. In many countries where ad¬ vertising does not exist, the people live on just about that low level. All the additional cultural and emotionally satisfying values which make life so enjoyable must be displayed to the cus¬ tomer in their attractive and satisfying values for them to be desired. We have before us, today, a new me¬ dium which can do that job in a way none has ever done it before. In a few hours, in the quiet of the home, one will be able, with television, to see what goods are attractive and satisfying to others. This can be achieved without even any attempt to sell, in the same way our American motion pictures have sold our standard of living to the rest of the world. To Outpace Mass Production We have a medium of appeal which can go into a home and demonstrate by sound, (which the sound radio can do), by sight (which magazines and news¬ papers can do) , and also by action, which none of them can do. It is the only medium on the horizon which pos¬ sesses the potentialities of a high oc¬ tane B-29 distribution machine. It is the only medium which may be able to outpace mass production and continue to raise our living standard. However, should television fail of this ambitious goal, it may aid impor¬ tantly in another way. It may make millions of people — especially that pro¬ portion of the 20,000,000 or so women, recently employed, for whom even a 60, 000, 000- job level does not provide employment — want to stay at home and look and listen to their television sets. Certainly, if hours must be reduced to spread possibilities of employment, television provides the ideal basis for making those extra hours much more pleasant for us all. The distribution authorities of Amer¬ ica will have failed to contribute their allotted part to the goal of 60,000,000 jobs if they do not make full and im¬ mediate use of television’s potentialities. 11 ill YOU prophesy? Will you sub¬ mit to cross-questioning?” is the way I think the American Television Society might have worded its request that I write an original article for its first Television Directory. At that, the letter came pretty close: for it not only bent the title into the shape of a question mark, but it was alarmingly specific on a number of queries to which safe, airy generalities could only be worse than no answers at all. With this preamble, partly to explain the question-and-answer form of this “piece” and partly to disclaim any spe¬ cial familiarity with the future not jus¬ tified by a projection of today’s facts, let us skip a few years and imagine ourselves in the Sixth Decade of the present Twentieth Century. Will Television Supplant Radio? Question: “Is Television Tomorrow’s Radio?” Or, to paraphrase, “Will tele¬ vision and radio grow side by side as sister mediums, or will television sup¬ plant radio, much as sound motion pic¬ tures supplanted silent movies?” Answer: My belief is that television will not replace radio, at least not in the foreseeable future, and not on the national level. To begin with, we have to think, these days, of radio not mere¬ ly as AM but also as FM. Most authori¬ ties in broadcasting seem agreed that even FM (with over 500 applications on file with the FCC as of the middle of 1945) will not entirely supplant AM; that while the regional and local sta¬ tions may give way before the on¬ slaughts of FM, the high-powered clear channels will remain to cover the wide, sparsely-populated farm, ranch and prairie areas for a long time. The radio picture we must look at, therefore, is an AM-FM combination with the possibility of 3000 stations (instead of 933) and possibly several more national networks (instead of the present four and one coming up). What this means is that if television is to supplant radio it will have to erect a perfectly gigantic plant, at an enor¬ mous cost, to furnish nationwide serv¬ ice on the scale of the present AM and the future AM-FM combination. With only nine stations operating and some IS TELEVISON TOMORROW’S RADIO? Predicting the future of television and the revolution it will bring about is today’s most fascinating pastime. Our guesses may mold the future of the video art. By EDGAR KOBAK President, Mutual Broadcasting System, Inc. 130 applications now on file, the dis¬ tance to be covered is still great. Another point to remember: FM net¬ works will take considerably more mon¬ ey than AM to establish, engineer and operate because of the large number of stations needed as the result of the limited coverage areas of each station. I can’t think that, if the industry in general expected television to be the radio of tomorrow, it would pour so much money into the development of FM which would become, in a short while, a detour from the straight line of progress. The suggested parallel “much as sound motion pictures supplanted silent movies” is too facile. Also, it is inac¬ curate, measured in terms of financing. Sound-pictures cost much more to pro¬ duce than silent; the same is true as between television and radio programs. What we have is probably a stand-off. But the wiring of a theater for sound is far from comparable to the cost of building and equipping a television sta¬ tion. Furthermore, when a movie the¬ ater converted from silent to sound, the costs were paid off in increased admis¬ sions — but there will be no admission fee charged for television in the home any more than there is for radio. But while, in my opinion, television will not supplant or replace radio, I can definitely see the two developing side by side, not necessarily as sister mediums (they are likely to develop along entirely different lines, with the family resemblance getting more and more nebulous as time goes on) but as complementary mediums. Let me illustrate. Technicolor is al¬ most as old as sound in the movies, yet technicolor has not replaced the mono¬ chromes. No, the majority of pictures — and what you might call the run-of- the-studio output — continues to be mon¬ ochrome; and Technicolor is reserved for those occasions when a studio or a director wants to make a splash with some “supercolossal” featuring Esther Williams and Van Johnson and de¬ signed to be a high-point in the movie fan’s fare — a special to knock his eyes out. Here, then, is what I can see: Radio will continue to be the bread-and-but¬ ter, the entree of the airwaves fare for American homes — and television will be the chocolate eclairs, the pies a la mode. The majority of the entertain¬ ment, news and public service broad¬ casts will still go out via sound; but when something special comes along — let us say the reception which New York City accords General MacArthur; or a World Series; or a national con¬ vention — these events will be televised. But, you might argue, that is what we have today! Won’t we have any more than that? Let me concede that we will probably have more television as time goes on — that our production of technicolor pictures (to continue the comparison) will increase — but until such time as television can blanket the country, my guess is that it will con¬ tinue to be a complementary service to radio. I want to emphasize again that all this applies only on the national level: I think that the picture on the local level is entirely different. For one thing, there is not the prob¬ lem of networks to consider, nor the problem of covering distances and areas. You have just the city — and the variations in cost would probably not be prohibitive. Then if ways and means can be found to program a local tele¬ vision station with any degree of con¬ sistency for a substantial part of the day — I would be inclined to think that television, while still not supplanting radio, would come close to being a parallel service. Not just dessert, any more; but a full course meal — in a dif¬ ferent restaurant. Strong Competition? Question: “Many see television ex¬ panding in strong competition with radio. Do you?” Answer: I believe that my answer to the first question paints a fair picture of how competitive I think television will prove to be on a national scale. I can’t see any overwhelming volume of national advertising on television within the foreseeable future: and I say that as impartially as any, because when television comes along, I want to assure you that Mutual will be among those present — and very present. Question: “Do you see television stealing the popularity of radio sport broadcasts? And tele-newsreels getting a bigger play?” Answer: In those areas where tele¬ vision service is established and the number of television homes is sizable in proportion to radio homes, I believe that television will steal a march on radio in the handling of sport broad¬ casts. But, I believe that before such broadcasts become really popular, the image must be clear and a technique of covering sports events developed which will introduce movement and va¬ riety. You could get very tired of look¬ ing at a game through the lenses of one television camera: but with four or five cameras spotted around the field and a quick shift from one to another, always being nearest the action- — we may well get exciting “viewing.” As for the amount of time devoted to television newsreels, presumably in newsreel theaters, the only authority is the public. Whether or not an audi¬ ence will sit through a television foot¬ ball or baseball game in a theater I won’t undertake to say. Presumably, too, theaters will charge admission and whether a televised game will be con¬ sidered worth money is also another problem for the future to solve. Two Techniques Needed Question: “Do you see television de¬ veloping visual art to accompany musi¬ cal programs — which need not be watched to be enjoyed?” Answer: I believe that when sound hit the silent films, the technique of presenting stories on the screen under¬ went radical and fundamental changes. The medium was no longer one pre¬ dominantly of pictures, helped out by as few captions as possible. It became a blend of sight and sound and ap¬ proached theatrical technique — with, of course, the advantage of unlimited stage sets. When sight hits broadcast¬ ing, the same revolution may be ex¬ pected to take place. We all know that a special technique of writing and presentation had to be developed for sound broadcasting. In radio, the scene is set with a brief description by the narrator and the ac¬ tion is painted with sound effects — a stealthy step on the gravel path, the squeak of a door, a shot, a scream, the thud of a falling body. The listener’s galloping imagination does the rest. Action vs Method Television will lose this imaginative co-operation from the listener; and what it will do to established radio technique is open field for speculation. It does seem to me that a group of people in their street clothes, clustered about a mike or two, reading their parts from scripts clutched in their hand — while adequate for such shows as the daytime dramas and even such stellar stanzas as the “Seven Up” and the Joan Davis shows — is a practice doomed to extinction in television. What people want to see is action — not method. I think television is going to need two separate techniques: first, the ap- ( Continued on page 122) Photograph by Larry Colwell TELEVISION'S entertainment potentialities are slowly unfolding through intensive experimen¬ tation. "The Singapore Spider," above, was produced by WOR's tele-staff at WABD. DEVELOPING commercial techniques for future use: Conover Cover Girls demonstrate the latest in fall footwear and correct make-up methods in WOR experiments at Station WABD. VISUAL COOKBOOK. The General Electric Home Institute suggests an appetite-whetting possibility in tomorrow's food advertising by a kitchen demonstration at Station WRGB. 13 FCC HOPES AND EXPECTATIONS FOR TELEVISION The television industry’s bold experiments in the ultra- high frequency band may well solve this medium’s serious traffic problem, this Government expert says. _ By PAUL A. PORTER Chairman, Federal Communications C ommission Of all the peacetime pursuits to which we can once again turn our hand, none has aroused more curiosity, hope and enthusiasm than the development of television. Television opens up vistas of educa¬ tion and entertainment hitherto un¬ dreamed of. The citizens of tomorrow will know their nation and the world they live in better than any generation before them because of the magic of television. Television will help us far along toward the goal Thomas Jefferson had in mind when he said: “I look to the diffusion of light and education as the resource most to be relied on for ameliorating the condition, promoting the virtue and advancing the happiness of man.” The entrepreneurs in the television field are confronted by technical and economic problems of great magnitude. That is the common lot of so many of the new fields of endeavor opening up to us in this postwar reconstruction era. It is the keynote of these challenging times. These pioneers will deserve the friendly interest and support of all of us in their efforts to conquer their obstacles and bring this new marvel into our homes. Television was one of the casualties of World War II. Just as the art was on the edge of accelerated advances, it was frozen in its tracks by the bombs that fell on Pearl Harbor. Frozen, that is, in an economic sense. In a technical sense, television was catapulted ahead from 10 to 15 years. The most intensive coordinated scientific teamwork this nation has ever seen resulted in mira¬ cles which overwhelmed our enemies and which now give us the brightest promise for peacetime production. While television production was marking time, the public has had its appetite whetted for this new wonder. Granted a reasonably efficient conver¬ sion from a wartime to a peacetime economy, the American public should soon be in a position to support the television industry. The leaders of the television industry can help to assure themselves of that support if they will profit by the expe¬ rience in the standard broadcasting field and resolve to keep this new di¬ mension of American life on the highest possible plane. They have it in their power now to decide whether this great invention, so extensively benefited by the wartime exertions of science, shall be weighted down with the shoddy, the trivial and the dubious or whether it shall realize its full potentialities. The Federal Communications Com¬ mission, for its part, has already taken steps to promote the highest develop¬ ment of the art. Thirteen channels be¬ low 300 me were made available for immediate commercial use by the Com¬ mission in its frequency allocations. However, this is insufficient space for the expansion of television into a truly nationwide and competitive system. In view of this, the Commission allocated a generous portion of the spectrum — from 480 to 920 me — for experimenta¬ tion with television employing wide channels and affording color pictures and high definition monochrome pic¬ tures. This superior type of television for commercial operation will find ample room for expansion in this region of the spectrum. With this in mind, the Commission is encouraging the television industry to move ahead boldly with comprehensive experiments in this upper band. Aided by inventions now being released grad¬ ually by the military from wartime laboratories, the experimenters in this ultra-high frequency band should make heartening progress. The culmination of these experiments will make it possible, from an engineering standpoint, for every city in the land to have adequate television service. The Commission is moving as expe¬ ditiously as possible to promulgate rules and regulations which will make it pos¬ sible for broadcasters and manufac¬ turers to make definite plans for the promotion of television’s future. With 130 applications already on file, there is every indication that there will be lively competition for the available channels in the region below 300 me. I am highly gratified by the vigorous experimentation being carried on by various concerns to solve one of the big¬ gest problems of a nationwide system of television — the establishment of relay systems. For the benefit of historians who will some day be poring over a yellowed and crumbling copy of this Directory and Yearbook and who get little fun out of life anyway — I want to record that as of this writing the nation has six com¬ mercial television stations in operation. America eagerly awaits the arrival of television on a nationwide basis as an exciting contribution to our pleasure and welfare and as one of the most welcome of our peacetime benefits. POSTWAR PLANNING pRODuC T development $ design By Francis McCarthy from Philco News "It will be the greatest thing in the postwar market, gentlemen- equipped with TELEVISION to detect midnight raids!" a Philco refrigerator 14 IS TODAY’S TELEVISION HERE TO STAY? Television’s film vs. live talent controversy continues to rage. Mr. Cooper is a forthright spokesman for the film advocates and the achievements of cinematics. By WYLLIS COOPER _ Program Manager, Compton Advertising Company T here have been millions of words written and millions more spoken on television. But up until now this pri¬ mary point has too seldom emerged: Television Is Simply a Talking Motion Picture It is a talking motion picture avail¬ able to the audience in its own home on the purchase of a receiver. Any well- made television receiver of even the present vintage is capable of delivering, if well-tuned, a fairly accurate dupli¬ cate of the picture in the studio. If the picture in the studio is bad, the picture on the home set is bad. If the studio picture is good, then the picture on the home screen is good. From this comes what we consider the first law of television. This is ex¬ tremely important, and should be kept constantly in mind — because the whole television programming problem is based on this law. This is the first law of television: “Picture reproduction on a home receiver is practically identical with the picture on the transmit¬ ter video-screen. Audience interest, therefore, will vary directly with the cinematic, dramatic, and pic¬ torial quality of the original.” That means that as the picture on the home receiver deteriorates from the accepted standard of theater motion pictures, in exactly the same ratio audi¬ ence interest will diminish. The con¬ verse is also true; as the picture approaches the ideal, audience interest will increase in the same ratio. Engineering Outpaces Programming Any discussion of engineering and transmission problems by advertisers and program people is for the most part idle. The function of transmission is exactly analogous to the function of projection in a motion picture theater. Certainly, there will be better transmission equip¬ ment. Whatever has happened in the engineering laboratories as a result of war research can be considered as an improvement in projection equipment, and, of course, in receiving equipment. We can safely leave all the improve¬ ment of the technical aspect to the engi¬ neers, who know what they are doing. Any layman who tries to visualize what the future of television will be is wast¬ ing his own time. Our concern is with programs and with what appears on the home screen; and even the technical equipment of today is adequate. The conventions of the motion picture have been established as a part of our national and personal consciousness for a period longer than the life span of a middle-aged man. Practically every per¬ son forty years old or less has absorbed these conventions as a part of his con¬ sciousness. He is conditioned to them exactly as he is conditioned to the con¬ vention of red and green lights. Nobody stops to think about why they are red and green. We simply know, have been taught, or have absorbed, since our earliest childhood the facts that red means stop and green means go. Any attempts to change a civilized conven¬ tion of that type will result in utter confusion, and almost certain defeat for the changers. Therefore, it behooves us to adhere strictly to the conventions of the motion picture and not try to create, out of the depths of our ignorance, any new ones as we go along. It is true that there is a novelty aspect of television: people will look at a television picture for a while regard¬ less of how bad it is, because it is new. But that novelty quickly wears off. If the picture doesn’t come up to the standards with which they are familiar, they will quickly desert it for the “stan¬ dard” form of talking picture — the theater motion picture. That brings us to this statement which, while it may be explosive, seems to us to be irrefutable: By the present “live” methods of television programming, it is ab¬ solutely and utterly impossible to meet motion picture standards. There are many reasons for this : The “live” television studio is too confining. Every person concerned with the broad¬ cast must know the broadcast complete¬ ly, from A to Z, every minute it is going on. There are many other consid¬ erations — but the most important of these is the consideration of editing. Editing is merely the orderly ar¬ rangement of elements of a story to give it the best possible interpretation. The two types of editing in motion pictures, apart from the ordinary cutting for sequence and emphasis, are editing in time and editing in space. Editing for Emphasis We shall take a motion picture com¬ posed of three short shots. One of them is a man standing up. One of them is a man sitting down on the floor. In each picture the man has a completely “dead¬ pan” expression. The third is a close shot of a hand taking a revolver out of a pocket. Now, by editing or rearrang¬ ing, we can tell at least two completely different stories. If we show the picture of the man on the floor first, then the picture of the man standing up, then the shot of drawing the gun, our sym¬ pathy is with the man on the floor. The little three-shot sequence becomes a story of a helpless man defying an op¬ pressor in the fact of certain death! Turn the sequence around — show the standing man first, then the gun, then the man on the floor, and we have a totally different story: it becomes the tale of a man meting out righteous punishment to a culprit. And — mind you — the expression on both the men’s faces is always the same — completely noncommittal. Editing in Time and Space The Russian film “Potemkin” is one of the great motion pictures of all times. There is a sequence in that pic¬ ture where the guns of the cruiser ( Continued on page 116) 15 HOW LARGE A SCREEN? When is a small screen too small — a large screen too large? A frank discussion of factors that are certain to influence the public and shape teleset buying trends. By DR. ALLEN B. DuMONT President, Allen B. DuMont Laboratories, Inc. H ow large should a television screen be? The answer is: Large enough for comfortable enjoyment of television en¬ tertainment. One might as well ask: Which should I drive, a bus or a coupe? The answer depends, naturally, on how many persons I wish to accommodate and just how pleasant I wish to make their accommodations. It is entirely possible to install too large a screen for the size of a room. And this extreme is just as absurd and inadequate as inviting all one’s neigh¬ bors to crowd about a tiny screen to witness a much-heralded’ sports event. There are yardsticks, of course, for de¬ termining a satisfactory screen size. Suppose we discuss the several factors affecting this problem. Proper Viewing Distance First, there is the proper viewing dis¬ tance . . . best illustrated by a motion picture theatre. Seats from about the eighth row to the twentieth, right down the center, are apt to be taken first. Then the rear rows fill up. Late-comers re¬ luctantly accept the side seats. And the last to come must fill the rows down front. Here they are very much aware of many minute imperfections in the film. Yet further back in the house this same film seems perfection itself! Every person — according to his eye¬ sight — naturally selects a distance from the screen that is most satisfactory for him. Thus the proper viewing distance varies with each individual. The aver¬ age person selects a distance roughly 10 to 12 times the height of the picture. When a television receiver is installed in your living room you have a counter¬ part of the motion picture theatre. The size of the television screen automa¬ tically determines the proper viewing distance. Thus, an 8" x 10" image will be viewed most satisfactorily by the average eye at a distance of approxi¬ mately 8 feet. Sitting nearer only makes the viewer conscious of the scanning-line structure and correspond¬ ing texture of the image. Moving far¬ ther away improves the pictorial reso¬ lution until the image is on a par with theatre movies — but the picture may become too small for comfortable view¬ ing! Hence the importance of sitting within the proper viewing distance of 8 feet. The giant DuMont 20-inch tube tele¬ set, providing a \ZVi" x 18" image, calls for a proper viewing distance of from 12 to 15 feet. If the sitter moves nearer, he becomes aware of the scanning-line structure of the image. Beyond 15 feet, the sitter still enjoys a comfortable screen size with excellent pictorial defi¬ nition. Any screen size viewed at the proper viewing distance provides about the same pictorial detail, everything else being equal. The midget teleset with its 3 V2 " x 4 V2 " image, aimed at the very low price market, produces just as sharp an image as the projector-type teleset which projects a 3' x 4' image upon the wall of a large living room or class room. In fact, the midget screen image is apt to appear needle sharp, but only because its scanning-line struc¬ ture is spaced so closely together that it passes unnoticed when viewed from a couple of feet away. Size of Audience The second factor to consider is the size of the viewing audience. With the midget teleset, whose image is viewed at no greater distance than 2 feet, only one or two persons can comfortably follow the television entertainment. Even so, these lookers-in complain of the same cramped feeling that went with early radio sets when earphones virtually chained the listeners-in to a nearby chair. Then the loud-speaker came along to provide freedom of ac¬ tion. Except for individual use, or as a second or third teleset in a home already enjoying a large-screen tele¬ set in the living room or playroom, the midget teleset has very definite limitation. The larger the television picture, the greater the audience that can be com¬ fortably accommodated, and the greater the feeling of freedom. With an 8" x 10" image, you are no longer peeping at the show through a knothole, so to speak, but rather are enjoying a pretty good seat, provided the room is not crowded. From six to ten persons can be seated in two or three rows, and everyone of them will be able to enjoy the show. But let the home audience run up to a dozen or more and a larger screen is necessary. This is where the 20" tube becomes the logical choice, with its 131/2,'x18" screen. I predict that this size will be the most popular for home use since it can comfortably accommo¬ date up to twenty televiewers. If one has a huge living room or playroom for the television show, with audiences at times numbering two dozen persons or more, then the 3' x 4' image obtainable with the projector- type teleset comes into its own. How¬ ever, this set spells real luxury and commands a luxury price quite beyond the vast majority of future television set owners. Freedom of Action The size of the audience is not, of course, the sole factor influencing one’s choice in favor of larger screen sizes. I again bring up the matter of freedom of action. It is certainly comfortable in the extreme to have a 3' x 4' projected image upon the wall, which can be viewed from any chair in a huge room. Many persons, to whom cost is no handicap, will doubtless prefer a pro¬ jected image. It is consonant with gra¬ cious living, with expansive living rooms and playrooms. The DuMont organization has de¬ signed and put into production a choice of telesets ranging from the smaller screen sizes at popular prices to the largest direct-view telesets, and also is producing a 3' x 4' projector type for those seeking superlative performance even if it does cost as much as a good automobile. Because we are manufac¬ turing all sizes and types, I can im¬ partially point out the good points and disadvantages of each. It is my sincere belief that direct- viewing television offers the most for the money. The DuMont organization has pioneered the giant 14 and 20-inch cathode-ray tubes and was the first to offer large-screen telesets based on the use of such tubes (as early as 1939). We still favor the direct-viewing meth¬ od for which we make the necessary giant tubes. Direct-View Advantages The principal advantages of direct- viewing television are high light bril¬ liance, better contrast range, wide-angle viewing, lower accelerating voltage, longer life, better resolution, less align¬ ment difficulty, and simplicity of the 16 TELESETS include large-image television screen, FM, standard broadcast, record changer and recording facilities. This model features a disappearing screen which tilts back into the teleset when it's not in use. Console models are designed in both classical and modern styles. BUILT-IN TELESET — The mechanism is concealed, leaving an 18-inch "direct view" screen vis¬ ible. A "direct view" picture, as distinguished from reflective and projection systems, is shown on the flattened, luminescent screen-face of a large picture receiving (cathode-ray) tube. focusing system. It would seem from this array of advantages that there is little question as to which is the most satisfactory, providing the audience is satisfied with an image no larger than 13 V2" x 18". A Disappearing Screen Of course there are some disadvan¬ tages to be recorded for direct-viewing television. There is a slight curvature of the screen which introduces some dis¬ tortion of the image. This is being largely overcome by flatter-faced tubes. Then there is the length of the tube which, mounted in the normal horizon¬ tal position, makes for a cabinet of awkward depth. The 20-inch tube is 31 inches long. However, we have ingeni¬ ously circumvented this awkwardness by mounting the tube in a swinging cradle so that it remains in the ver¬ tical position when the teleset is not in use, and is brought to the horizontal position only for actual viewing. With this tube-mounting we have reduced the cabinet depth to 24 inches or less. Considering the advantages of direct- viewing in greater detail, we find that the high light brightness of the 20-inch tube is in the order of 20 foot lamberts as compared with approximately 3.5 lamberts for the most efficient projec¬ tion system now in use. In both cases the picture size is considered to be 1314" x 18". The higher light brilliance means that the 20-inch teleset can be used satisfactorily in a brilliantly illu¬ minated room. An ambient light level as high as 5 foot lamberts can be tolerated without seriously impairing the picture quality. With the projection system only about .5 foot lamberts average ambient light can be tolerated. It is interesting to compare the brilliance of the picture on the 20-inch tube with that of normal commercial 35 mm. movies which aver¬ age between 6 and 10 foot lamberts. As regards brightness ratio or con¬ trast range, the 20-inch tube has a con¬ trast range of approximately 35, as compared with 17 for the projection system. This is an extremely important characteristic of the television picture since in many cases the lack of contrast gives viewers the impression of poor resolution. As to directivity (maximum viewing angle from the normal angle at which the apparent brightness decreases to 50% of its value in normal direction) we find that the 20-inch tube can be viewed from ±80°, whereas the projec¬ tion system can only be viewed from ±15°. It is, of course, possible to widen this angle somewhat in the projection system but in so doing the high light brightness will decrease from its al¬ ready low value. Life of Cathode-Ray Tubes In making these comparisons we have assumed an accelerating voltage on the 20-inch tube of 15 kilovolts, and 30 kilo¬ volts on the 5-inch flat-faced tube of the projection system. It is obvious that the lower accelerating voltage of the direct- viewing tube effects certain economies in the manufacture of the receiver. But aside from first costs, there is a marked difference in operating costs. With the 20-inch direct-viewing tube the spot size is sufficiently small to re¬ solve any 525-line television pattern or even higher, with a well-designed de¬ flection yoke, whereas care must be taken with the 5-inch projection tube to obtain full 525-line resolution. Forget¬ ting spot size for the moment, the reso¬ lution on the 5-inch tube is considerably reduced by light scattering on the fluo¬ rescent surface as well as on the trans- luscent screen. With the direct-viewing tube all elements are aligned within the glass envelope, as against the tube and optical system to be aligned in the pro¬ jection method. In order to focus the picture on the direct-viewing tube, it is only necessary to make an electrical ad¬ justment, whereas both electrical and optical adjustments are necessary in the projection system. Furthermore, unless the latter’s optical elements are properly protected, the picture is apt to deteriorate with age of equipment. Our organization has developed a projection unit that produces a 3' x 4' image on a suitable wall screen — more than four times as large as any pic¬ tures for home projection yet demon¬ strated. Our compact projector has a tested range of picture sizes from 18" x 24" to 414' x 6'. We believe this pro¬ jector has a place in the very large living room or playroom, and even far more so in the schoolroom, club, church, department store or other public place. Built-in Wall Telesets In a home desiring a large picture on the wall that can be viewed from dif¬ ferent parts of a fair-sized room, we favor the custom-built installation — a receiver built into the wall with the tube-screen suitably framed at any height desired. On the basis of bright, detailed, good- gradation pictures, at an attractive first cost and with low operating ex¬ penses, I hold that the direct-viewing teleset has exceptional advantages. But I am quick to admit that there is a place for the projection type set where cost is secondary to the desire for maximum screen sizes for the purpose of entertaining large groups in utmost comfort. 17 Like speeches and babies, the perfect Television News Service, in the present state of video, can be defined as “easy to conceive but hard to deliver!” Today, certain practical technical limitations are holding back the devel¬ opment of a full Television News Serv¬ ice, that is, are holding back the form which it must ultimately take, if this new medium is to gain its rightful place as the leader in pictorial news presen¬ tation. These technical limitations in equipment performance and portability, in relay standards and facilities, are problems which will be surmounted. They are problems, however, that, though capable of solution in the physi¬ cist’s laboratory, are first encountered in the school of field experience and mostly solved in the open-air classroom of practical telenews pickup. For this reason, it is possible to hazard a guess at the trends in television news, both on a short and a long-term basis. It is obvious that until full and efficient technical staffs are built up and organ¬ ized by the major companies, the second phase of full television news program¬ ming cannot even be considered. The first and present phase of news program production, therefore, will lie in the fundamental use of available equipment, with tendencies in news presentation that demonstrate a compe¬ titive jockeying in ideas and methods gathered from the “arts and sciences” of radio news and newsreel. Television, by its very definition, sets forth its claim to the unique dimension of “immediacy.” Yet news, and only news, can make purposeful use of this attribute which conquers space and time. And it is in the proportion that it turns to account, this magic quality of “news as it happens,” that the standard of television news will be rated in the future. Top Ratings for News In evidence of how far television has yet to come, one has only to consider present program content and thus un¬ derstand why news programs have not yet broken out to the top ratings on television polls. I, personally, have no hesitation in predicting that when its normal development evolves — as it sure¬ ly will — news will be right up there in front, leading the television field. HOW WILL TELEVISION HANDLE THE NEWS? A prediction that television’s news reporting system will one day be the pride of a well-informed nation. By TED GENOGK News Editor, Paramount News How do our arbitrary “present” and “future” phases of news presentation line up? At the moment, network news is a promise and not a reality. There¬ fore, we can expect news film and studio photo tricks and techniques to be used in aiding a telegenic commentator in the interpretation of the news. This will be coupled with live coverage of the more important local events. A large amount of sports telecasting will fill an obvious need, and also repre¬ sent television’s “immediacy” at its best. The earliest equipment improvements will be developed and tested in this field. Much work remains to be done to pro¬ vide the variety of angles and “picture” field sizes necessary to give pictorial speed, life and excitement to sports- casts. There is a creative element in news reporting, although it is almost an axiom that the “hotter” the news, the less treatment it needs. Perhaps this explains why sports events are a fine testing ground for “new presentation” ideas. Reliance on Filmed News In the larger cities — where the greater part of the news is made — a vast field of news broadcasting will be opened immediately. Outside the web of regional networks, however, the smaller remote stations will face a different problem. Unable to present immediate live news at the moment of the event, these small city stations will be forced to adopt filmed news as their main pictorial material. The ability of the small-town station to make use of “immediacy” in news depends on the rapid establishment of relay techniques. That this is the No. 1 priority in television, is shown by the existing variety of approaches to the problem : coaxial cables, centimeter radiowave relays and now the Westing- house proposal for stratospheric plane relays. Efficient nationwide relay sys¬ tems are needed to solve the economic problems of television’s entertainment field. In the broadcasting of television news, they provide the very life-stream. Until these future or adult days of nationwide television service arrive, the small station will undoubtedly adopt present-day techniques of pictorial in¬ terpretation of the news for its sched¬ uled programs and these will be devel¬ oped around the personality of a local- name commentator. The international and national pictorial scene will be pre¬ sented on film. Now this need raises many questions, and leads to many arguments and predictions as to the way in which such a service will be achieved. Special Tele-Film Services The major newsreel companies are best equipped both nationally and local¬ ly to undertake distribution of such newsfilm. Yet newsreels today are con¬ tracted for by theater exhibitors, and the motion picture companies may be loath to promote a television station service which the theater exhibitors might conceivably challenge as competi¬ tive. Some companies, however, with an eye to such future possibilities, have already included the filming of news events specially for television, among their activities. Thus, Pathe News sup¬ plied NBC Television with special film coverage of the Presidential Conven¬ tions and of the San Francisco Confer¬ ence. Some television stations will inaugu¬ rate their own motion picture depart¬ ments. It is quite likely that, should the vacuum not be filled, many 15mm. pro¬ ducing organizations which mushroomed during the war will turn their peace¬ time activities to 16mm. film coverage of news events and provide a television film service on an agency basis. Local Coverage All in all, the small, independent sta¬ tion, despite smaller resources, will be able, nevertheless, to put out a credit¬ able news program. And at his own doorstep, he will have the important field of local news. Anyone who has worked on newsreel production will know the frantic call for local coverage. In this phase of operations, the small station is at no disadvantage with his big city brother. With portable pickup equipment, he can give local news the real television treatment — that is, make it a live affair! With our eyes on the bright horizon of television, it is the second phase that holds greatest appeal because it prom¬ ises comprehensive news coverage by the most telling medium that has ever existed. 18 Now, with Victory won, we can expect scientific research to move with ever- accelerating speed to make the requisite equipment and techniques available in a relatively short time. Then, with pic¬ ture-bearing high frequencies carrying the news of the moment across the con¬ tinent with the speed of light, television news will be established in its own right. Field news units will be supplied with truly portable cameras of the orthicon type, with smaller mosaics yet of high quality and efficiency. These will enable the cameraman to scan the com¬ plete gamut of scenes from extreme general view to intimate close-up. These field news units will cover every signifi¬ cant event and activity making up the life and growth of our civilization. Underwriters Needed Enough experience is available in the news fields of radio and motion pictures to visualize clearly the organization necessary to establish a comprehensive television news service. And it also be¬ comes clear that only major networks or interested motion picture companies are likely to underwrite such services. The tradition of radio, and the trust imposed on news-gathering organiza¬ tions to see that no vested interest shall color or influence the choice of news, means that the major expense must be borne on a “prestige” basis by large companies in allied fields. It follows that network television services will be few in number, but in high competition these will deliver the superior quality that results from that form of free initiative. News of top interest and importance would be given “flash” treatment, in¬ terrupting scheduled programs if neces¬ sary. Photographic methods of record¬ ing the sound and picture of the initial spotnews broadcast would enable re¬ transmission at a later time, in edited form, in the normally scheduled news roundup, or for use as “visualization” in a news-analyst’s later interpretations of the day’s events. Film will never en¬ tirely be eliminated, any more than rec¬ ords were by the introduction of radio. Even in news, film will have the func¬ tion of supplying much background in¬ formation. The past few years have seen a revolution in informational edu¬ cation of the public — through the popu¬ lar press, magazines, films and radio — with a strong trend toward “background interpretation” of news. In the Tele¬ vision News Service organization this means more than just a research sec¬ tion of the editorial department. It makes imperative the setting up of a complete motion picture news library or “morgue.” Here, all important events and personalities would be catalogued and indexed with such efficiency and skill, that relevant film could be selected and edited into an explanatory entity, in a matter of minutes. Paul Alley’s commendable handling of the obituary of the late President Roosevelt for NBC, showed what can be done in this phase of pictorial news. Future television demands will call for film editors and methods that can handle this form of news picture analy¬ sis at highest speed. (Continued on page 124) PIONEERING a great new medium of news coverage: WNBT sets up its cameras atop the Hotel Astor s marquee to televise the New York's historic V-E Day millions in Times Square. PHOTOGRAPHS, maps, globes, diagrams and films are standard equipment of the television news commentator. The newsroom of Station W6XYZ, Hollywood, is pictured in action above. NAMES MAKE NEWS: Sgt. Bill Mauldin, the outstanding cartoonist of World War II, is inter¬ viewed by Ben Grauer. Presenting personalities in the news is a natural for television. 19 COLLEGE SPORTS AND TELEVISION The increasing popularity of televised sports opens to colleges and universities a great opportunity for building prestige and an important source of income. _ By DON SPENCER President, Televised Sports, Inc. T he role that sports may be expected to play in television programming can best be estimated by a glance over their impressive record in radio during the past two decades. Sports broadcasts were among the first features of radio to achieve out¬ standing popularity. The novelty of sit¬ ting at home and hearing a blow-by- blow description of a heavyweight championship bout — or a play-by-play report of a World Series baseball game — fired the imaginations of millions. This availability of excellent sports programs, more perhaps than any other single entertainment feature, provided the buying incentive that speeded the expansion of radio. Set ownership grew into the millions, in fact a market of listeners was well established before the entertainment provided in sponsored broadcasts began climbing to its present high levels. Some of the largest radio audiences in history have been tuned in for net¬ work sports presentations: notably the Joe Louis fights and World Series base¬ ball broadcasts. Significantly, however, network presentations of sports form but a small part of the nation’s total sports broadcast time. Most sports events are of sectional interest only. But in their sections such events possess extraordinary audience pulling power. They are regularly presented over their local stations with local commentators doing the honors. Radio’s coverage of sports includes horse races, baseball and football games, golf tournaments and tennis games of top interest, championship fights, and an occasional track meet. Radio’s two great sports standbys are professional baseball and college foot¬ ball. And broadcasts of both of these are conducted primarily as local opera¬ tions. A sports event which has great local or regional interest is presented over one or more of the local or regional stations. And, very frequently, it enjoys a national or regional sponsor. In prac¬ tice this means that a national adver¬ tiser often sponsors a dozen to 20 dif¬ ferent football games in different parts of the country on a single Saturday afternoon. This growing sponsorship of local sports events by large advertisers is of special significance to the growth of television. As television networks may be of slow growth, many sections of the country may find themselves without coaxial cable hookups for 5 to 10 years after they have television stations. These isolated, independent stations, if equipped with mobile field pickup appa¬ ratus, can cover local sports events, give their audiences a top entertainment feature, and can obtain sponsorship of such events by national advertisers be¬ cause the audience attracting power of local sports events has been so ably demonstrated by radio. Experienced sponsors of college foot¬ ball broadcasts declare that localization — giving the sports fans in each section the sports events that are of greatest interest to them — is the key to good audience response. All Games Important to Fans In Texas, for example, the Humble Oil Company started out by sponsoring what it considered to be the top games of the Southwest Football Conference. The company soon learned from the rabid football fans of the Southwest that they considered all games played by Southwest Conference teams to be outstanding. After this reaction, the company swelled its sponsorship to be¬ tween 30 and 35 Conference games yearly, a policy it certainly would not continue if it did not find the opera¬ tion to be very much worth its while. Similarly, on the Pacific Coast, the Associated Oil Company began by spon¬ soring football games in the San Fran¬ cisco area only but soon made an agree¬ ment with the Pacific Coast Conference to broadcast all Conference games. The company has broadcast all these games for a number of years now, and in ad¬ dition has negotiated contracts with the leading independent Coast colleges. On the Eastern seaboard, the At¬ lantic Refining Company has been ex¬ panding its coverage of college games for the past ten years. It now broad¬ casts a total of 167 games per season — an average of 17 games per weekend. Incidentally, since 1940, the Atlantic Refining Company has commercially sponsored telecasts of all big football games played in Philadelphia. These are television’s first recorded commer¬ cially sponsored sports telecasts. In the Midwest, there has been no clear pattern of college football broad¬ casting. Among universities making up the Big Ten, Minnesota games are not open for sponsorship. All other schools, however, permit commercial sponsorship of their games. With the exception of Indiana and Purdue, they receive from $15,000 to $20,000 each for broadcast rights. More than any other type of video (Continued on page 141) 20 WILL TELEVISION DEBUT IN A FOOL’S PARADISE? There’s more to tele-selling than demonstrating a prod¬ uct on the screen in a prospect’s parlor. There’s tele¬ merchandising, too! Here are some timely warnings. By E. B. WEISS Consultant Scarcely a word has appeared in print about it. Scarcely a word has been ut¬ tered about it in tele-studios. And yet, without it, television cannot bring the advertiser a profitable return on his advertising investment. That “it” is the gentle art of mer¬ chandising the television advertising. The gentle art of exciting the whole¬ sale distributor and his salesmen and winning their selling and promotional cooperation for tele-advertised lines. The gentle art of exciting the retailer and his salespeople and winning their selling and promotional cooperation for tele-advertised lines. Commendable, in fact highly com¬ mendable foresight was shown by tele¬ stations and advertisers when they per¬ severed in wartime program study and experimenting. But is the program the sum and substance of success in tele¬ advertising? Won’t television programs have to be merchandised to and through the trade? Or is there the naive belief that cut-and-dried merchandising and promotion will extract the bonus of wholesaler and retailer cooperation from the tele-advertising investment? Of course it can, and probably will, be argued that wartime tele-advertising provided no basis for merchandising and promotional activities. Or that mer¬ chandise scarcities made such functions inadvisable. But it is still a fact that both the promoters of tele-advertising and the users of tele-advertising have given scarcely a thought to the second half and by no means the least impor¬ tant half of the television program — its merchandising and promotion. Unproved Theories Dangerous This might not be a source of some alarm if it were not for several disturb¬ ing factors. One of these is the tendency of those who promote television to live, talk and eat “out of this world.” They lull themselves into smug security with calm acceptance of unproved theories such as the rather silly contention that tele-advertising will be ten times more effective and more resultful than any other form of advertising. Another dis¬ turbing factor is the common tendency among both advertisers and advertising agencies to devote 90 per cent of their time and talent to the development of the advertising program. The natural result is that merchandising and pro¬ motion become a mighty bedraggled “also-ran.” When you contemplate such factors as these, it becomes at least as clear as the current television image that tele¬ advertising, in its early days, will be asked to carry the whole load. It will be asked to send droves of customers into stores. It will be asked, automatically, to win distributive outlets. It will be asked, automatically, to win the selling support of the advertiser’s salesmen, the wholesaler and his salesmen, the re¬ tailer and his salesmen. It will be ex¬ pected to obtain, automatically, window display space, counter display space, and every other form of merchandising and promotional support. Promotion Will Pay Off Now I have been convinced for a long time that tele-advertising is destined to become the dominant national advertis¬ ing medium. But whether it is dominant or not, it won’t pan out as a profitable advertising investment for 95 per cent of those who use it unless and until the tele-program is smartly and thoroughly and energetically merchandised and promoted. What does that demand? I’ll answer that question, first, by explaining what it does not demand. It does not demand phony and ludi¬ crous claims with respect to the pulling power of tele-advertising. It does not demand statements with regard to tele-advertising that simply insult the intelligence of smart retailers. Presumably, it is the cooperation of smart retailers that will be sought by tele-advertisers because the cooperation of the lunatic fringe among retailers is hardly worth anybody’s while. It does not demand a broadside, meas¬ uring about ten feet by ten feet, that in lurid colors and equally lurid language extols the miraculous achievements of tele-advertising. It does not demand either donkey dust or star dust. Unfortunately, these absurdities help shape the all-too-common concept of promotion. Retailers have been told how a page in Vogue or Harper’s Bazaar would result in call-the-police traffic in their dress departments. Now they are going to be told how a tele-program, reaching in the first half of 1946 a total viewing audience of perhaps a quarter- million or a half-million in a nation of 140,000,000 souls will out-deluge the most fantastic concept of a Hollywood deluge. Right here and now is the time for television to consider how its pro¬ grams are to be merchandised and pro¬ moted. And, in considering this problem, wouldn’t it be sensible to analyze real¬ ism in a realistic way? How Do We Do This Job? Let’s take a look at some of the basics involved in merchandising and promot¬ ing tele-advertising: 1 — Better retailers aren’t deluded for one fleeting second by absurd as¬ sertions about so-called “national” advertising that may actually reach no more than the merest handful of their customers. 2 — Better retailers cover their trad¬ ing areas more thoroughly with their own advertising than do most national advertisers with their campaigns. 3 — The prestige of better retailers means as much to the local popu¬ lace as the prestige of many so- called national brands and, ac¬ tually, carries greater weight than the prestige of most so-called na¬ tional brands. 4 — Better retailers promote constant¬ ly. They welcome promotional as¬ sistance as differentiated from mere suggestions that they tie up promotionally. Their promotions are built around specific promo¬ tional themes. The promotions they want from manufacturers are likewise built around themes — retail promotional themes — and they have no use for promotions that are simply hallelujahs for national brands and so-called na¬ tional advertising. Finally, they welcome complete promotional pro¬ grams, as differentiated from “better tie up or else” admoni¬ tions. 5 — What has been said about retailers applies as well to wholesalers. 6 — Tele-advertising will not be a na¬ tional advertising medium in 1946. 7 — Tele-advertising will not send 21 EVERY FASHION SHOW in the Sanforized series produced by Young & Rubicam at WABD was merchandised to dealers in highly interest¬ ing reports. Each reproduced a shooting script enlivened with many photographic illustrations and the director's hand-written changes and camera notes, together with captions for each page which sum¬ marized the action. Television audiences may have been limited but Sanforized dealers everywhere "saw" these shows and absorbed their fashion messages through Sanforized progress reports. Advance notices and follow-up literature are a vital part of a complete tele¬ vision promotion and the most profitable part for 1946 advertisers. droves of customers into stores demanding the tele-advertised item even in those areas where tele¬ coverage is concentrated. Precious little national advertising is real¬ ly national. On an actual reader or listener basis (as distinguished from ridiculous total circulation or total readership or listenership claims) not more than 5 per cent of our national advertisers actual¬ ly get their messages before more than 10 per cent of our adult population. Not more than 5 per cent really reach as much as 20 per cent of their actual consumer market ! 8 — Only a handful of national adver¬ tisers or sectional advertisers have any considerable degree of con¬ sumer demand. Again reverting to percentages, I would say that 95 per cent of our advertisers have merely consumer acceptance — and tele-advertising definitely is not going to turn that into consumer demand either overnight or ever! 9- — Distributors, both wholesale and retail, plus their sales organiza¬ tions, are keenly interested in and Television Will Really Add Something! intrigued by television. Moreover, they like to hook their promotions to the new, exciting and thrilling. There, in categorical fashion, is the merchandising and promotional set-up that faces the realistic user of tele¬ advertising. Now, what to do about it? First and foremost — throw overboard the bunk about irresistible consumer demand created by the small viewership tele-campaigns of 1946. Second — make sensible capital of the novelty and the early popular appeal of television. Third — develop retail-flavored promo¬ tional themes that tie up with your tele¬ advertising. Fourth- — build complete promotional programs around those themes. Fifth — supply the retailer and the wholesaler with everything within rea¬ son needed to execute the suggested promotional program. Now — what does that last “must” involve? Insofar as the retailer is con¬ cerned, it involves unselfish, retail- smart, fully-wrapped-up promotions that don’t stop at suggesting what the retailer should do but which actually supply most if not all of the needed promotional material. In order to do that, you must know the promotional tools that a retailer customarily em¬ ploys. Briefly, they include the follow¬ ing units: Newspaper Magazine Radio Television (soon) Window displays Interior displays Handbills, package inserts, bill in¬ serts Car cards and outdoor panels Truck panel signs Telephone solicitation Training salespeople Mail-order units including catalogs Special tables, sections, “corners,” “shops,” etc. Unique merchandise arrangements Employee contests With regard to the wholesaler, it is obvious that his promotional functions are usually fewer than those of the re¬ tailer. Catalog inserts, inserts in the wholesaler’s monthly statements, dis¬ plays in the wholesaler’s showrooms and windows (if any), special mailings to wholesale salesmen and perhaps a con¬ test among wholesale salesmen, special letters or other types of direct mailings for the wholesaler to send to his retail trade, portfolios for the wholesale sales¬ man (if the line is important enough) . . . these take in the major part of wholesaler promotional activities. Finally, there is the manufacturer’s own sales force which must be promo- tionally equipped so as to be able to sell the tele-advertising intelligently and energetically — and, of course, the manu¬ facturer’s own mailings to his distrib¬ uting trade. Does this sound like a lot of work? It is! It may involve as much time, effort and brains as the tele-program itself. But if tele-advertising is to bow its way into the competitive commercial world with simply tele-programs, then it will be making its debut in a fool’s paradise. Advertisers don’t ramble about in that paradise very long — it’s too costly a jaunt! © Fontaine Fox. Courtesy, New York Sun Problem of Television 22 WHAT WILL YOUR TELE-TIME DOLLAR BUY? For most advertisers, television today is a long-range investment. On this basis, however, it can be highly recommended, for it will pay off handsomely. By RICHARD MANVILLE. Consultant on Advertising & Research Manufacturers and advertisers who are deeply concerned with present-day sales promotional problems and trends are asking a $64 question with increas¬ ing frequency. That question is: “Shall I go into television right now?" And now, late in 1945, my reply runs something like this: “Before I can give you the intelligent answer you de¬ sire, please answer one question for me — What do you want your expenditure in television to bring you?” If my inquirer says: “I want to get experience so that I will know some¬ thing about television when it breaks full flood” — then I know his problem boils down to how much he can afford to spend on a regular basis to get that experience. On the other hand, suppose he de¬ clares: “My advertising budget is a cer¬ tain fixed amount. If I go into television I’ll have to spend a part of it that pos¬ sibly could be used elsewhere to better advantage. My job is to make every dollar spent bring a dollar plus in sales.” When he states an objective like this, I shake my head sadly and go into a little simple arithmetic. 900 Sets in Chicago Let us imagine, as has happened, that the gentleman is from Chicago. So I point out that there are around 900 tele¬ receivers in his city. If we assume that every receiver is in working order (an extremely optimistic assumption at this moment) and if we further assume that there are four viewers for each set, we arrive at a total of 3,600 viewers. Some surveys report as high as 10 viewers per set. The findings of CBS, G-E and my own organization agree on 4 or 5 listeners per set and I have used the conservative lower figure. However, this theoretical 100 per cent potential* — 3,600 viewers — must be trimmed down to actual sets in use. A G-E survey rates this “sets-in-use” audi¬ ence as 60 per cent of the potential. Using this percentage we arrive at an actual audience of around 2,000 viewers per show. In passing, I might mention that G-E and my own surveys indicate that about 25 per cent of this audience will he children. Audiences may vary considerably from show to show, and * Again optimistic with perhaps 10-15% of sets needing repair and “not working.” drop off alarmingly on evenings when another television station goes on the air with a good program. However, this audience of 2,000 is a starting point. At this stage I am likely to ask: “Have you an idea as to what a tele¬ show will cost you?” “Yes,” this adver¬ tiser may reply, “I can get a complete package that includes everything for $300.” This figure is low but typical of today’s operating conditions and in no wise comparable to radio expenditures. We proceed to divide 2,000 by $300 (per show) and the quotient tells us that he can hope to reach approximate¬ ly 7 people for every $1.00 spent. Logic then compels me to point out that if he is paying approximately 15 cents per viewer per show, he must sell 15 cents worth of goods per viewer per show. And this 15 cents must be considered as a base cost over and above the cost of the product, other advertising, etc. 3,000 Sets in New York Or let us go back and assume that our questioner is a New York business man. Here, the most recent surveys re¬ port about 3,000 tele-receivers in metro¬ politan New York. Assuming 4 to 5 viewers per set, we can start with a potential audience of about 15,000 viewers. Reduced to 60 per cent — the sets-in-use estimate — we find ourselves with a net of 9,000 viewers. As we accept this figure we must admit that it is optimistic, that we are assuming that all 3,000 sets are in working order and that 6 out of 10 will be turned on in any given evening despite the presence of three television stations and New York’s other enter¬ tainment distractions. Divide these 9,000 viewers (which also include children, mind you) by, let us say, a $300 show cost per week and we find that we are getting 30 viewers per dollar, this is 3 cents per viewer, not buyer. Stack this up against cost per magazine reader, or cost per radio listener — particularly when these other media can supply the right type of reader or listener for our product — and we are down to bedrock. Naturally, the two examples cited are streamlined for brevity’s sake. Some shows have cost ten times as much for the same size audience. And many ex¬ cellent shows have cost considerably less. However, “free time” from stations will be scarce from now on. As controls release materials for the manufacture of television sets, as the public buys the sets (with inevitable price reductions making them more and more available) ; as additional tele¬ vision stations are erected, and as the sets in any given area increase from several hundred to several thousand, thence to several hundred thousand and then to millions, the situation will im¬ prove radically. But what we are con¬ sidering is the economic picture right now — the arithmetic of television! If arithmetic proves that other media can be used at lower cost per person, we can only suggest cold-bloodedly that you wait until television has a different story to tell. For at this moment this fact must be faced : television cannot be justified if a dollar-and-cents yardstick is the only one by which you are per¬ mitted to judge this medium. It must be remembered also that owners of television sets, at this mo¬ ment, are: 1. persons in the high in¬ come brackets who are interested in television because they are associated directly or indirectly with television manufacturers; 2. wealthy persons who buy any new product which contributes sociological distinction; 3. persons in associated lines such as radio and ad¬ vertising; 4. theaters, bars, etc., and 5. radio retailers who had prewar sam¬ ple models and moved them to their homes. Value in Research Now Qualifying our audience by these in¬ tangible factors and we find it a highly restricted, highly selected market at this moment. On the other hand, use of television today offers very real advan¬ tages of dollars-and-cents value. 1. Television, today, still packs enough novelty to pull a tremendous volume of excellent publicity if intelligently handled. 2. If you go into television now, you can “merchandise the pants off” your program to dealers. Most dramatically you can make them aware of your pro¬ gressive advertising plans. Its psycho¬ logical effect upon your dealers and (Continued on page 134) 23 PROPOSED ROUTES FOR RELAYING TELEVISION PR 24 NETWORKS: Here are the various routes offered by seven different organizations to provide television coverage of the entire nation. THE BELL SYSTEM’S PLAN FOR TELE-NETWORKS Construction of nationwide networks, already well started, will continue to keep pace with the require¬ ments of this rapidly expanding broadcasting medium. By KEITH S. McHUGH Vice President, American Telephone and Telegraph Company ACROSS THE COUNTRY, mile by mile, automatic coaxial cable laying under the sponsorship of the Bell System is linking major communities together, speeding the day of nationwide television. About 400 miles of a 7,000-mile network is in operation at the beginning of 1946. CROSS SECTION of a six-coaxial cable (left) shows position of coaxials with respect to regu¬ lar telephone wires. Fanned-out view of cable at right shows construction of conductors in the one sheath. Width of waveband carried depends on amplifying equipment, not on cable. T he Bell System is preparing to meet the television industry’s needs in transmission facilities as they arise. That unqualified statement can be made because of the background of ex¬ perience and resources that has been accumulated by the telephone industry. For nearly three-quarters of a century, telephone engineers have been develop¬ ing successfully the art of transmitting electrical impulses over long distances. For some 20 years we have been oper¬ ating successfully nationwide networks for radio broadcasting. And backing up such experience are an incomparable physical plant, a thoroughly trained personnel, and the research achieve¬ ments of the Bell Telephone Labora¬ tories. Bell System facilities for broad-band transmission have proved capable of transmitting either telephone calls or television programs satisfactorily. They will be ready to meet television’s ex¬ panding requirements in quality of transmission and in dependability as rapidly as the art develops. What type of equipment will the Bell System use in serving the television industry? Coaxial cable and specially- equipped telephone wires already have proved capable of carrying broad-band television frequencies. Radio relay serv¬ ice may also prove attractive in broad¬ band transmission. Our objective is to provide the best, most dependable and most economical transmission method. We shall use whichever method or com¬ bination of methods gives the television industry the most satisfactory service at the lowest practical cost. Coaxial Cable In the years prior to World War II, as it became apparent that increasing telephone traffic would outstrip the ca¬ pacity of conventional wires and cables on major toll lines, telephone engineers looked for a transmission method that would accommodate the expected in¬ crease in volume of calls. They adopted the coaxial principle and developed a cable that could carry many hundreds of phone conversations simultaneously without mutual interference. Essential¬ ly, a coaxial cable is a wire conductor within a cylindrical copper tube which serves as both a return conductor and a shield. Simple though it is in design, coaxial cable when suitably equipped efficiently transmits the broad frequency bands required for multiplex telephony and television. Present coaxial equipment can trans¬ mit frequency bands of about 3 mega¬ cycles. Experimental work, started be¬ fore the war and being resumed now, however, indicates that, with further development, bands of greater width can be accommodated should television need them. The first coaxial cable to be placed and used for telephone messages by the Bell System was a 90-mile section be¬ tween New York and Philadelphia, in¬ stalled in 1936. This was followed by a 200-mile length between Stevens Point, Wis., and Minneapolis, which has been in operation for about five years. The ( Continued on page 128) 25 % T elevision network growth is direct¬ ly related to the expansion of the tele¬ vision industry. As the number of television stations increases the greater will be the demand for network facili¬ ties, and inversely, the more rapidly network facilities are established the more rapid will be the growth of tele¬ vision stations in this country. Network facilities and stations go hand-in-hand. A microwave tele-network relay sys¬ tem makes possible the achievement of two primary objectives from the stand¬ point of programs. First, it permits the program originating in the studios in one city, for example, Hollywood, to be duplicated over a television transmitter in another city, let us say Chicago. Sec¬ ondly, it provides a means of picking up a live television program from points where no television station exists. Immediate Pickups Possible For instance, part of our proposed coast - to - coast tele - network* passes through Indian reservations in remote regions of the Southwest. Since a tele¬ vision program can be injected into a network at any repeater station point, it becomes feasible, for example, to televise Indian ceremonial dances in the deserts of Arizona by means of portable television pickup cameras and equip¬ ment, and to transmit the images and sound to viewing audiences in Chicago, Washington, New York, Boston and other distant cities connected with the transcontinental network. The ability to duplicate live television programs on a nationwide basis over a multitude of stations is a vital neces¬ sity to the business side of television. The programming cost of television is high. Unless two or more market areas are enabled to share these costs, programming will be severely limited and handicapped. The full capabilities of the television art cannot be realized without tele-network facilities. It is not economically feasible for a national ad¬ vertiser to undertake separate and dis¬ tinct productions of his program at each individual station. The total cost would be increased by additional pro¬ duction expense at every station after the first. While it is technically possible to pro¬ * Raytheon’s proposed transcontinental micro- wave relay system is mapped on page 24. RAYTHEON’S MICROWAVE RELAY SYSTEM National tele-networks are vital to the commercial development of television. Bigger audiences is the single direct answer to excessive programming costs. By LAURENCE K. MARSHALL President, Raytheon Manufacturing Co. duce, or reproduce, a live show sepa¬ rately at each station, “big name stars” would not be available outside of the major production centers, and many types of “perishable” programs could not be handled on this basis at all. News events, current sports such as prominent baseball and football games, conventions and ceremonies are exam¬ ples. Radio broadcasting enables the public to hear these events reported while they are happening. Newspapers with radio-photos and newsreels speeded by fast planes, trail the radio by only a few hours, sometimes only by min¬ utes. Television is expected to combine all these services, to present sight and sound immediately and simultaneously to the eyes and ears of the public. An important part of tele-network expansion is the development of branch circuits from main line circuits. On a main line circuit between Chicago and New York, a number of branches will be required. A branch circuit to Buffalo, for example, would have a main line connection at one of the repeater sta¬ tions east of Cleveland. Whether such branches are to be arranged for transmission in either direction depends entirely upon pro¬ gram requirements. If programs orig¬ inating in Buffalo are to be fed to the main line for delivery to stations in New York and Boston, the circuit must be capable of handling them as well as “feeds” from the main line to Buffalo. Adequate news coverage alone may make two-way transmission imperative. Some of the repeater stations on microwave radio relay networks will be located at very high elevations when passing over mountain ranges. Due to the quasi-optical characteristics of tele¬ vision broadcast frequencies, a tele¬ vision broadcast transmitter located at one of these high elevations would enjoy what is known as a large “service area.” That is, the satisfactory transmission range radius in miles is much greater than if the station were located at a relatively low altitude. Thus, large rural areas which might be deprived of television program reception because of primary metropolitan area considera¬ tions can be adequately served on an economical basis. The importance of rural area service cannot be overlooked. Television receivers will sell well only in areas where buyers are able to receive entertaining programs. Nation¬ al tele-networks, therefore, are impor¬ tant to the commercial development of television, especially from a program cost standpoint. In our opinion, tele¬ network facilities will expand simul¬ taneously with the growth of television stations throughout the country. Photograph by Larry Colwell READY for national audiences: Lever Bros.’ “Thanks for Looking" audience participation show, m.c.'d. by John Reed King, assisted by Pat Murray. Produced by Ruthrauff & Ryan. 26 PIONEERING A TELE-RELAY NETWORK Philco reports satisfactory tests of the multiple relay type of network over its Washington-Philadelphia link. By JOHN BALLANTYNE. President, Philco Corporation T he growth of television networks logically depends upon two factors: first, the technical development of tele¬ vision transmitting and relaying equip¬ ment; second, the economic justification for the expansion of television service. From the technical standpoint, Phil¬ co has done considerable pioneering in the development of television relay net¬ works. Our first step along this line was a logical advance from our long and successful experience with remote pick¬ up telecasts. For several years, Philco engineers have taken their television cameras to televise interesting news events such as the famous Mummers’ Parade in Philadelphia. All Penn football games at Franklin Field for the past five seasons have been televised by Philco crews using two cameras to bring the gridiron ac¬ tion to the Philadelphia television audi¬ ence. Such remote pickups have been relayed over a relatively short distance to our main transmitter, Philco Tele¬ vision Station WPTZ at Wyndmoor, and then re-broadcast. With the benefit of this experience, our engineers opened a successful tele¬ vision wireless relay link between New York and Philadelphia, in co-operation with the National Broadcasting Com¬ pany. At first, from October 1941 to July 1942, programs transmitted from New York by WNBT were picked up at a relay station at Wyndmoor just outside Philadelphia, and thence beamed to our main transmitter, then located at the Philco plant at C and Tioga Sts., Philadelphia. Relaying in this • way, from New York to Wyndmoor in a sin¬ gle “hop,” was not entirely satisfactory because the distance was too great for true line-of-sight transmission. Relay Passes 3-Year Test This problem was solved by develop¬ ing new relay equipment and placing it at Mt. Rose, N. J., about half way between New York and the main Philco transmitter, which has been at Wynd¬ moor since July, 1942. With line-of- sight relaying, this tele-network con¬ necting New York and Philadelphia has been providing television pictures of commercial quality for more than three years. On V-E Day, it was in suc¬ cessful operation continuously for 14 hours, relaying the special WNBT pro¬ grams to the Philadelphia television audience through Mt. Rose and WPTZ. Recently Philco engineers carried their pioneering experiments another step forward by joining Washington with Philadelphia via a multiple relay television network. In this relay sys¬ tem there are four intermediate relay stations in addition to the originating transmitter in Washington and the re¬ broadcasting transmitter at WPTZ in Philadelphia. All relay stations are sit¬ uated on hill tops for best televisibility. The longest transmission path between stations is about 43 miles so that line- of-sight relaying is assured. The new Washington-Philadelphia multiple relay network performed splen¬ didly throughout its first public dem¬ onstration, on April 17, 1945, when the first telecast ever made from Washing¬ ton was seen and heard by the Philadel¬ phia television audience. Picture qual¬ ity was commercially satisfactory. The major point proved by this net¬ work is that it is now entirely possible and practical to connect distant cities by a series of television relay stations. Undoubtedly, television relaying will b~i FIRST LINK in the Philco network, at Arling¬ ton, Va., uses 100-foot dipole-topped an¬ tenna towers for line-of-sight transmission. eventually be accomplished at much higher frequencies than the present 12- mc. channels, centered around 210 and 236 me., now being used by Philco. However, it is also entirely possible that networks can be built in the near future, utilizing present equipment, techniques and frequencies, joining many other major metropolitan areas in the United States. If the relay sta¬ tion sites are carefully chosen, as was the case with the Philco networks con¬ necting Washington and New York with Philadelphia, it will be possible to use the same sites and many of the same facilities at the more desirable re¬ laying frequencies above 1000 me. in future tele-network operation. Networks Stimulate Revenue As to the economic problems in tele¬ vision networks, I believe that we can draw a parallel with the infancy of radio broadcasting. At first, local radio stations presented local programs. Au¬ diences were limited, advertisers could afford to pay relatively little, and thus it was hard to build program quality. When radio stations were linked in na¬ tional networks, programs immediately improved as more money could be spent for talent, writing, direction and preparation, while technical research could also be expanded. Television programming is in its in¬ fancy now because television networks are just beginning to be built. There are still only nine television stations operating in the United States, and only three of these are linked together and these for relatively short periods each week. When television networks spread across the country, as I believe they soon will, and the television audience expands from a few thousand persons to hundreds of thousands, the economic justification will exist for more elabo¬ rate and hence more expensive televi¬ sion programs. To date, relatively few advertisers have cared to experiment with television because of the limited audience, even though time charges have been nominal. But now, with civilian goods return¬ ing to the market and keener competi¬ tion for sales becoming inevitable, ( Continued on page 140) 27 STR AT O VISION WILL GIVE Aviation is ready to do its part in the creation of air¬ borne video broadcasts with trouble-free planes, relief planes standing by and enough gas for 1 1 hours. _ By WILLIAM K. EBEL Vice President in Charge of Engineering, The Glenn L. Martin Company Airplane broadcasting service is not only possible but is not too difficult to attain. The design of the airplane must be such that it will operate reliably 24 hours a day in the highest wind ve¬ locities to be encountered at 30,000 feet. Throughout the United States, high winds usually occur in winter months and the average velocity is about 50 miles per hour. The highest ever re¬ corded was 181 miles per hour at 18,000 feet over Lansing, Michigan, in December, 1919, but winds exceeding 80 miles per hour occur less than 1.5 per cent of the time at any location in the United States at 30,000 feet. Over Ja¬ pan, the crews of B-29’s often reported winds exceeding 150 miles per hour. We are fortunately situated for Strat- ovision operation. Weather No Problem At 30,000 feet all storms are below us with the one exception of thunder- heads. These clouds, known as cumu¬ lonimbus, have been observed at alti¬ tudes of 40,000 feet with extreme ver¬ tical air currents of 200 miles an hour blowing straight up through their cen¬ ters. However, their occurrence at al¬ titudes of 30,000 feet is extremely rare. The extent of such a disturbance is purely local, or even more infrequently, may be a relatively narrow band of considerable length. This is a typical cold-front configuration. Since they are clearly visible, even at night, they can be avoided with no interruption of service by flying broadcast airplanes on either side of the disturbance. Always Two Planes in Air Airplanes would take off at stag¬ gered 4-hour intervals remaining at 30,- 000 feet for eight hours each. This will keep a broadcasting and a stand-by airplane on station at all times. At each area four airplanes will be re¬ quired so that while two are flying the remaining two will be undergoing serv¬ ice maintenance. Since the Stratovision airplane must operate in all types of weather, it must be equipped with hot air anti-icing equipment. Heat derived from either the engine exhaust or separate heat¬ ers is conveyed to the leading edges of the wings so that ice never has a chance to form. Moreover, with Stratovision broad¬ casting, a rebroadcast airplane can take off from Chicago outside of the storm area, fly over Pittsburgh at an altitude safely above the weather and serve the latter area even when a hurricane may have disabled all ground equipment. If the country were covered with aircraft operating at all times at 30,- 000 feet, meteorological data would be available to forecast weather even more accurately than at present, and to con¬ centrate aircraft as needed near storm areas. No storm area is ever so large that it would keep aircraft near its outer edges from getting on stations at any time. We can safely say that with the most modern navigational, radar, anti-icing, and blind landing equipment and with sufficient reserve aircraft, no area would be deprived of Stratovision serv¬ ice because of weather. Statistics Prove Reliability A question which may occur to the skeptic, as it has occurred to us: What about the reliability of the mechanical operation of aircraft? The Civil Aero¬ nautics Administration states that in a two and one-half year period from Jan¬ uary 1941 to June 1943, there were seven forced landings due to engine failure during a total of 340,000,000 miles of airplane operation. Using an average cruising speed of 180 miles an hour, we calculated the hours of flight per forced landing and the chances of interrupting a coast-to-coast network. Bear in mind that this interruption can only be caused by both airplanes at any one station being forced down at once. This probability in any one 24- hour day came out to be one in 30,- 000,000. On an average we would have an interruption due to airplane engine failure once every 82,000 years. There are other things which can force the airplane down, such as loss of cabin supercharging pressure, but here again we will use the same tech¬ nique which nullifies the effects of en¬ gine failure. We will supply 100 per cent standby in all such items, includ¬ ing power generating equipment, emer¬ gency controls, oxygen and other items. Slow Airplane Required Present plans call for conventional all-metal, low-wing monoplanes — almost as large as the famed B-29, but with gross weight only a third of the Super¬ fortress. They would have automatic ( Continued on page 127) SKY GIANTS, all-metal, low-wing monoplanes as large as B-29’s but a third as heavy are planned for Stratovision. One will cruise at under 150 miles per hour while a second stands by. 28 WINGS TO TELEVISION Westinghouse official predicts unprecedented coverage with less power required, lower installation and oper¬ ation costs and many services flown simultaneously. By G. E. NOBLES Westinghouse Radar Expert and Originator of “Stratovision” T wo methods are being used to dis¬ tribute television programs, namely co¬ axial cables and radio relay stations. Coaxial cables have been installed and used to distribute television programs. Published information indicates that by approximately 1950 it is intended to complete a cross-country link from Boston to San Francisco and make it available for the distribution of tele¬ vision programs to television broadcast¬ ers. The construction cost alone for laying this cable is in the order of several dollars per foot. Therefore, the proposed route will cost many millions. Relay Chain Requires 100 Towers The other approach to the program distribution problem is a series of radio relay stations which use highly direc¬ tional radio for relaying the program from one point to another. A typical in¬ stallation in a relay-link chain consists of a tower approximately 300 feet high with a receiver to receive the programs from one tower and a transmitter to relay the program to the next succes¬ sive tower in the chain. Because of the line-of-sight characteristics of the fre¬ quencies involved in this relaying, re¬ lay towers will be located approximate¬ ly 35 miles apart. This means that 100 relay towers would be required to get a program tie-up from New York to Hollywood. A system of relay stations is now connecting Washington, Phila¬ delphia, New York and Schenectady and plans have been published for a chain of relay stations which will net¬ work the country. Either of these systems — coaxial or radio relays — has the disadvantage that large quantities of expensive equipment are necessary to distribute the program. Imagine the amount of cable or relay¬ ing which will be required before these 400 stations can be tied together in a television network based on data sub¬ mitted to the Federal Communications Commission by the Radio Technical Planning Board. The operation of relay or cable net¬ works presents very sizeable technical problems because of the number of times the program must be handled. At each relay station additional distor¬ tions are added to the signal in the form of noise, phase distortion, and amplitude distortion. If a television transmitter were placed in an airplane and the television program broadcast from the airplane in flight, the transmitter’s coverage area would be increased by virtue of an increased line-of-sight distance to the horizon. At an altitude of 2,000 feet, a coverage radius of 50 miles is possible, whereas at an altitude of 30,- 000 feet a coverage radius of 211 miles is possible, and at 50,000 feet about 300 miles is possible. Another very interesting feature of high-altitude operation is the fact that as the station’s height is increased, the transmitted power necessary to deliver a usable signal to the line-of-sight dis¬ tance is sharply reduced. Fifty kilowatts of power will deliver a usable signal at approximately 50 miles from a ground station, whereas only one kilowatt of power will deliver the same usable signal at approximate¬ ly 200 miles from 30,000 feet. Smaller powers are required from the higher altitudes because the path difference between the direct wave and the ground-reflected wave is increased. The fact that such small powers are required from high altitudes is very inviting for several reasons : 1 — The broadcast service area cov¬ ered is relatively tremendous. 2 — The smaller-powered transmitters can be made in sizes and weights which are practical for carrying in an airplane. 3 — Powers of the order of one kilo¬ watt can be generated with tubes which are available today — even for the CBS high-definition color television frequencies. 4 — The small amount of power re¬ quired to operate the transmitter can be obtained from power plants installed in the airplane. If so desired, the power required to operate the equipment could be taken for generators con¬ nected to the aircraft’s engines. This power will represent only about 4 per cent additional load on the plane’s engines. A Network of Airplanes Let us now look at the program dis¬ tribution problem involved if we use radio relaying between a network of airplanes at 30,000 feet. If we transmit from one plane to the next plane in the chain, the line-of-sight distance be¬ tween the two planes is about 400 miles instead of the 35-mile spacing for ground stations. With such large relay spacings a program link from SIX MILES UP, 14 planes carrying transmitters can beam television programs to 78% of the population. Circles 422 miles in diameter represent 103,000 square miles each plane covers. 29 TELEVISION NEEDS NORMAL DEVELOPMENT By G. B. JOLLIFFE Vice President in Charge of RCA Laboratories, Radio Corporation of America |t does not take much imagina¬ tion to see television as a possible five or even ten billion dollar enter¬ prise, employing thousands of men and women directly and indirectly. Television, like any other radio service, can be improved, and, like other radio services, it will go through several cycles of improve¬ ment and obsolescence — otherwise there will be no progress. We must continually pioneer. What is the nature of the im¬ provement which will be most ac¬ ceptable to the television audience? Should we wait for pictures with sharper definition, in color, or in three dimensions? All of these fu¬ ture additions may be desired by the public, and they will be achieved ultimately. These improvements must not be permitted to delay the establishment of a new industry and a new service to the public. As the television industry devel¬ ops, engineers have the obligation to see that the public gets better and better service and that the new developments which will be brought about by the stimulation of use are integrated into an over-all system. Engineers will not and should not be satisfied that the television job is done until they have made it possible to project, in the home, pictures of adequate size and in color of all major events wherever they occur, in the United States, or in any part of the world. These objectives may be accomplished in a few years, or many years may be required. However, we now know how to produce pictures of ade¬ quate size and quality in the home. The technique of bringing sports and news events, drama, opera, etc., to the home has been devel¬ oped to the stage where an ex¬ tremely entertaining program can be produced, broadcast and re¬ ceived. The public can enjoy tele¬ vision now. Its support of television will bring better television in the future. It should have the normal development of a new service, not hampered by unnecessary restric¬ tions or limitations and not retard¬ ed by those who may not have the will to pioneer or the inclination to enter a new field now. Hollywood to New York is obtainable with only eight airplanes as compared to 100 relay points on the ground. This greatly reduces the technical problems involved by virtue of requir¬ ing fewer handlings of the program. With directional antennas and utilizing relay frequencies on the order of 2000 megacycles, this relaying can be done between airplanes with powers of less than one watt. Tubes readily are avail¬ able which will generate powers of five watts in this frequency range. These relay stations could be designed to carry several television programs and also an abundance of other in¬ formation such as FM network pro¬ grams, facsimile, motion picture thea¬ ter television, etc. Altitude Limited by Planes Because the broadcasting service area and relay spacings increase with altitude and the power required to service the broadcasting area comes down as altitude is increased, it is desirable from a standpoint of radio operation alone to operate the plane at as high an altitude as possible. The altitude of operation of the sys¬ tem is limited by the economic and technical problems involved in operat¬ ing planes at extreme altitudes. A study of the over-all combination of radio and airplane operation indicates that an operating altitude between 30,- 000 and 50,000 feet provides a good compromise. Since we have more knowl¬ edge of the airplane design and oper¬ ating costs at 30,000 feet, I will pre¬ sent the system based on operation at that level. However, in the future we intend to operate at even higher alti¬ tudes. Multiple Service Planned In the early stages of thinking about airplane operation of broadcast sta¬ tions, it was felt that the operating costs for maintaining an airplane at high altitudes would be so great as to require that several transmitters be operated from one airplane, thereby realizing income from several paying advertisers. After preliminary talks with The Glenn L. Martin Company engineers, it was decided that the airplane design should be large enough to accommodate four television transmitters, five FM transmitters, monitoring equipment, and sufficient relaying equipment to carry four television programs and five FM programs, and also system com¬ munications channels. The airplane they have proposed is designed on this basis. Television and FM studios are lo¬ cated on the ground in the normal fashion. The program is fed into a small ground-to-plane link transmitter, picked up in the plane by a ground- link receiver, fed into the broadcast transmitter, and re-broadcast over the plane’s line-of-sight area by means of the broadcast antenna. When the plane functions as part of a program dis¬ tribution network, the signal from the ground-link receiver would also be fed into a small network-link transmitter and beamed to the next successive plane by means of a directional an¬ tenna. An 8-Plane Span of U. S. In a system covering the whole of the United States with television pro¬ grams from airplanes at 30,000 feet, each plane has a broadcast service range of approximately 200 miles in every direction and relaying can be ac¬ complished between two planes which are approximately 400 miles apart. By operating planes over New York, Pitts¬ burgh, Chicago, Kansas City, western Colorado, Salt Lake City and Los An¬ geles, a program distribution network from Hollywood to New York is estab¬ lished. These two cities are considered to be the main sources of television program material except for sports events and special events which might take place anywhere in the country. At the same time each of these planes broadcasts television and FM programs to an area of 103,000 square miles around its operating point. 14 Planes Serve 78% of Population By adding six more stations to this network — over Durham, Atlanta, Mem¬ phis, Dallas, Sacramento, and Portland, Ore. — approximately 51 per cent of the area and 78 per cent of the population of the United States is brought within the primary coverage area of 14 sta¬ tions. Almost any event in the country may be put on as a nationwide telecast with proper pickup facilities. Sports events, national elections, symphony concerts, Indian ceremonial dances, lo¬ cal disasters such as floods or hurri¬ canes, and a great variety of other program material could be fed into the network quickly by a small “pickup” plane, equipped with television cameras and relaying equipment, stationed at each Stratovision base. Such a plane could fly quickly to the desired scene and relay the program back to the main relay link for broadcasting nationally. In attempting to evaluate economical¬ ly the operation of airplanes for broad¬ casting, it is hard to find a concrete base for comparison. There is such a radical difference in the amount of tele¬ vision service obtainable by operating from airplanes as against operating ground stations that the two systems hardly have a common base. Selecting Pittsburgh as a typical op¬ erating center and the coverage from one airplane, eleven 50 kilowatt trans¬ mitters would be required to service the same area from the ground. Since one airplane serves the area with four television and five FM programs, an equivalent coverage requires 44 televi¬ sion transmitters and 55 FM transmit¬ ters, and approximately 33 relay sta¬ tions. It is assumed that the same pro¬ gram is fed into either system so that programming costs cancel each other. The operating cost for one Stratovi¬ sion station is estimated to be about $1,000 per hour. The cost for giving an equivalent ground coverage is about $13,000 per hour. This comparison does ( Continued, on page 127) 30 WHY ADVERTISING AGENCIES SHOULD GUIDE TELESHOWS If television networks control production, will tele¬ shows be sold on their Crosley ratings? Can networks successfully build shows for competitive clients? By JOHN HERTZ, JR _ Chairman of the Board, Buchanan & Co. Today, as this nation is slowly freed from its wartime shackles, the televi¬ sion industry faces its future with no concerted plan for commercial expan¬ sion and not even a majority agreement on the principal factors likely to con¬ tribute to this development. Wishful thinkers frequently predict that television’s expansion will not fol¬ low traditional lines, that things are going to be different. One will point to the growing importance in radio of the packaged show producer as evidence of a trend away from the advertising agency. Another will point to the war¬ time policy of several television stations that are operated by radio networks and to the statements of some of their offi¬ cials, indicating that they intend to make a strong bid for retention of pro¬ gramming control. All, at least, agree that henceforth the quality of television 'programs will determine the speed with which this great new communication- art assumes its destined place in our social and economic life. What procedure and what policies are likely to assure the steady and rapid development of television programming quality? How can the joint interests of the public and of program sponsors best be served? A vast army of highly tal¬ ented people will be needed to supply television’s demand for program mate¬ rial, to develop commercial techniques to pay off television’s higher-than-radio production costs, to handle the tre¬ mendously increased production prob¬ lem involved in presenting shows to be seen as well as heard. Where are these people now? Who will organize and guide their television thinking? Who is best equipped to do so? Thanks to the open house policy adopted at DuMont’s WABD and Gen¬ eral Electric’s WRGB, hundreds of sales-minded executives in the past three years have gained a working knowledge of television’s production problems, and have developed program ideas and visual commercials suited to their products. Only by such trial-and- error experimentation can television’s most effective use as a sales tool be realized. The importance of this co¬ operative pioneering cannot be over¬ estimated. The television networks which insist on producing all the shows they present are likely to find they have saddled themselves with a task too big for them to handle. Producing shows experimen¬ tally for a few clients, as stations are doing today, is child’s play compared with attempting programming produc¬ tion for all the many advertisers that will be involved in a 28-hour week of broadcasting — the minimum suggested by the FCC. This production achieve¬ ment by any one station is possible but extremely unlikely. The mathematics of time, the size of the organization re¬ quired, the friction inherent in serving competitive clients, all rule against it. Advertising agencies do not serve competing clients because it is human nature to favor one group over another. Can a network expect two competitive coffee accounts, for example, to be served satisfactorily by the same cre¬ ative staff? Will the network set up a different writing staff for each account? And if one staff does a better job than the other, how can the inevitable com¬ parisons be explained? Will a producing station eventually find its advertisers limited to non- competing accounts? Responsibility for Sales A radio station is judged by its signal strength, the percentage of po¬ tential audience regularly tuned to it, and the general character of its pro¬ grams, both sponsored and unsponsored. Its primary responsibility to a sponsor is a technical one — the matter of get¬ ting the signal out to the listeners. The sales productivity of the program rests squarely on the shoulders of the ad¬ vertising agency. This means that the agency has the soundest of business reasons for wanting continually to improve its programs. It also has familiarity with a sponsor’s budget pos¬ sibilities and is in a position to act quickly. When a network key station rules that it must produce all its shows, it is no longer selling time; it is in the business of selling shows. If it cannot sell a show, it loses a sale of time. And if it sells a show, it automatically as¬ sumes an advertising agency’s respon¬ sibility for maintaining the show’s quality, of upholding its Crosley, of selling a profitable volume of the spon¬ sor’s product — or of finding a replace¬ ment in a hurry! If a network key chooses to produce all its shows, how will it price its wares? Certainly advertisers and ad¬ vertising agencies will appraise them on their Crosley ratings — on their cost- per-listener impression. The network cannot ask the same price for two shows if the Crosley of one is 4 and for the other is 8. There will be seven television stations in New York. If a network key sells packaged shows and sells them on a Crosley basis, several logical queries are certain to be made. If a show with a high Crosley loses its rating to a new show, is an advertiser entitled to a rebate? Or will billings be based on a Crosley for each broadcast and fluctu¬ ate accordingly? Will a network care to write a contract cancellation clause, effective if the Crosley drops below a certain figure? If a network key obtains commercial sponsorship for 20 of the 28 hours weekly it is on the air, it will be pro¬ ducing shows for 40 clients at the very least. The staff of writers required for handling both entertainment and com¬ mercials will be enormous. Add art and music directors, producers and account executives, actors and staff people necessary to serve these clients satis¬ factorily and the total will reach fan¬ tastic proportions and costs. Is this gigantic operation likely to prove a gold mine? An advertising agency is accustomed to fighting for rock bottom prices in the interests of its clients. And in buying television shows, it will have a production cost yardstick in its own operations at “open door” stations. Consequently, it will refuse to allow its clients to overpay for shows no matter by whom they are produced. Forty advertisers, at a conservative estimate, will spend $10,000 apiece each year through their agencies in search¬ ing for ways to improve their pro¬ grams. If they were forced to choose from the fare provided solely by the stations, would the station budget $400,000 purely for program improve¬ ment? Competition is the keystone of progress in television as in every other industry. It goes without saying that television cannot progress unless it is used gen- ( Continued on page 115) 31 PROGRESS IN COLOR TELEVISION When will color television be available to the public? If field tests, which are already under way, prove successful, 1946 may provide an important answer! _ By PETER G. GOLDMARK Director, Engineering Research and Development Department Columbia Broadcasting System, Inc HISTORY OF COLOR TELEVISION Color television was demonstrated for the first time in July, 1928, by John L. Baird in England. Both at the transmitter and at the receiver, a three-spiral scanning disk was employed. Each of these spirals con¬ sisted of a succession of holes which were covered with red, green, or blue filters, which scanned the picture completely in the three primary colors. At the transmitter, photocells were employed, while at the re¬ ceiver, two gas-discharge tubes controlled by a commutator were used. One of the tubes was filled with neon and acted on the red spiral, while the other tube, filled with a mixture of helium and mercury vapor, appeared through the blue and green spirals. The transmission employed a bandwidth of the order of 10 kilocycles and the pictures corresponded to a number of lines somewhere between 20 and 30 per frame. In July, 1929, Bell Telephone Laboratories, New York, demonstrated a three-color television system employing three independent channels. The live-pickup equipment consisted of three banks of cells with the three primary-color responses. A flying spot scanned the object and a scanning disk served on the receiving end to reconstitute the image. Three discharge tubes furnishing red, green, and blue light and super¬ imposed by mirrors behind the scanning disk served as the light source. Bell Laboratories employed a three-channel system which occupies three times the frequency spectrum over the corresponding black-and- white picture and requires three times the facilities. Baird, similarly requiring three times the frequency space, employed rotating filters and was thus first to demonstrate the sequential, additive method of color. Early in 1938, John L. Baird demonstrated in England a 9 x 12-foot 120-line color-television picture using sixfold interlacing, employing a flying spot, mirror drum and rotating filters at the transmitter. At the receiving end also a mirror drum was employed, rotating at the rate of 6000 revolutions per minute and using a Kerr cell as modulator in conjunction with rotating color-filter slots. In July, 1939, a demonstration with similar transmitting equipment was reported by Bell Telephone engineers. At the receiver was a projec¬ tion cathode-ray tube combined with a rotating color filter. This was a two-color system using orange and blue-green filters alternately. The color-picture frequency was 16 2/3 per second employing 102 lines. On August 28, 1940, a three-color, high-definition system employing electronic scanning both at the transmitter and at the receiver was broadcast for the first time over CBS Station W2XAB in New York. The subject of transmission was motion-picture color film. Soon after, live pickup employing the same trichromatic system was demonstrated. Beginning on June 1, 1941, daily color transmissions over WCBW inaugurated a field-test period for the purpose of determining the prac¬ ticability of color television. Color drums were used at the receiver as well as at the transmitter instead of color filters. A short cathode-ray tube was placed within this drum which rotated at about half the speed usually possible with a disk. In mid-1944, CBS received FCC permission to construct and operate an ultra-high frequency color television transmitter. It is scheduled for completion and tests by the end of 1945. On October 10, 1945, on labora¬ tory test equipment CBS engineers successfully demonstrated ultra-high frequency broadcasting of clear, ghost-free color pictures on a 10-Mc video band. Although nominally 525-line pictures, each picture contained ‘•1575 imperceptible lines of beautifully detailed color.” We experimented successfully with color television before the war — in fact it was broadcast from our color trans¬ mitter on top of the Chrysler Tower in the center of New York and was re¬ ceived at many locations within a 30- mile radius. However, the amount of detail in the picture was not quite sufficient to meet our standards. In order to provide the necessary ex¬ tra detail in the picture, our color sys¬ tem was transferred into the so-called ultra-high frequency region. This is that part of the radio spectrum which is between 300 and 1000 megacycles. This new space in the ether became usable as a result of war research. Whereas, before the war television pictures had to be contained within a bandwidth of 4 megacycles, the new system utilizes 10 megacycles. Government Encouragement With regard to our early contention as to the usability of the new ultra- high frequencies for color television, it can be stated now that one of the first and most encouraging endorsements came from a group of United States Government experts representing the State Department, the Federal Com¬ munications Commission, the Army and the Navy. Finally, permission for CBS to oper¬ ate a color television station in New York City in these ultra-high frequen¬ cies was granted by the Federal Com¬ munications Commission in mid-1944, and installation of the new transmitter in the spire of the Chrysler Building is scheduled for this year (1945). Addi¬ tional CBS applications are now on file with the Federal Communications Com¬ mission for licenses to operate ultra- high frequency color television stations in several other cities including Chicago and Los Angeles. Incidentally, the new ultra-high fre¬ quency color television system will also provide black and white pictures, with more than twice as much picture detail as the prewar system. The ultra-high frequency band, which has now been set aside by the Govern¬ ment for experimentation with this new system of television, extends from 480 to 920 megacycles. This furnishes 29 television channels, as compared with ( Continued on page 114) 32 PTM - A NEW TELEVISION TRANSMISSION SYSTEM Pulse Time Modulation introduces the interestng pos¬ sibility to television of broadcasting both sound and picture, and color as well, on a common channel. By H. H. BUTTNER _ President, Federal Telecommunication Laboratories T he lifting of wartime secrecy dis¬ closes a new system capable of trans¬ mitting simultaneously a number of telephone or telegraph channels on micro-wave frequencies. This system can also transmit simultaneously the sound and picture channels of a tele¬ vision program. At a time when the attention of the television industry shifts toward the higher radio frequencies, the disclosure of pulse-time modulation should be of considerable interest to those concerned with television. The new system known as “Multiplex Radio Pulse Time Modulation” holds vast and revolutionary potentialities for multiplex telephone and telegraph services, multiplex broadcasting and television with common picture and sound channel. This PTM system which was made public recently when its wartime secrecy was lifted, is the outgrowth of the pio¬ neering efforts of the International Tel¬ ephone & Telegraph system extending back to 1931 with the Dover-Calais 18 centimeter micro-wave link. This system is based on an original conception of E. M. Deloraine, president of Interna¬ tional Telecommunication Laboratories and Mr. Reeves of the London Labora¬ tory of IT&T and has been developed in the New York labs of IT&T under the direction of E. Labin and the super¬ vision of D. D. Grieg. Although commercial television in recent FCC proposals retains roughly its present position in the frequency spectrum, a new band at much higher frequencies from 480 to 920 megacycles has been allocated for experimentation in high definition, color and other tele¬ vision developments. This trend towards higher frequencies offers spectacular possibilities to PTM. These possibilities in the multi-channel telephone field have already been demonstrated and its ap¬ plication to multi-channel broadcasting and television is awaiting further re¬ finements before it is publicly dem¬ onstrated. A radio multi-channel tele¬ phone system has been demonstrated by IT&T on an experimental link equipped with repeaters and spanning a distance of 80 miles. Tests have been conducted over a 2-way circuit that originates and ends at the top floor of the 35-story IT&T building at 67 Broad Street, N.Y. From there the circuit is beamed to a repeater or relay station at Telegraph Hill near Hazlett, N. J., then to another repeater station at the site of the new Federal Telecommunication Laborato¬ ries at Nutley, N. J., and thence back to the building in N.Y. Since the repeater station boosts the strength of the micro- wave energy without causing distortion or cross-talk, the circuit could be 1000 or more miles long and still maintain a high quality of transmission. In such a system, the repeater stations should be installed at intervals of approximately 30 miles as the extremely high frequen¬ cy micro-wave energy, similar to light, requires direct line of vision for its transmission. These repeater stations are automatically operated. PTM receiving and transmitting antenna installation atop IT&T Building, New York. In the first public demonstration of the triangular network, 24 persons lo¬ cated in separate rooms of the N. Y. building conversed simultaneously over the micro-wave link. The 24-channel ar¬ rangement operates on the principles of time modulation and time selection. The pulse time method of modulation consists of emitting short pulses of high frequency radio energy. These pulses are of constant amplitude and at the same carrier frequency. Modulation is effected by transmitting a synchroniz¬ ing or “marker” pulse at fixed times and following this pulse with the “sig¬ nal” pulse at variable time intervals. The positon of the “signal” pulse at any given time depends on the modu¬ lation to be transmitted. At the receiving end, the time of arrival of the signal pulses with regard to the marker is reconverted into the corresponding amplitude of the modu¬ lating signal. In effect, the PTM system chops the signal to be transmitted into small bursts which occur at such a rate that the ear is unable to detect the interrup¬ tions. This is similar to a motion picture where the spectator watches a screen which is completely dark during a large portion of the time a film is being shown, and yet the eye does not detect the dark intervals. For its multi-channel operation, the system makes use of time selection as opposed to conventional frequency se¬ lection. In a 24-channel system, 25 pulses are transmitted successively in each cycle. The first one or marker is stationary in time, the other 24 corres¬ pond to each of the channels and their instantaneous position depends upon the signal transmitted on each channel at that particular time. The rate of repe¬ tition of this cycle of 25 impulses is 8000 per second. For reception, a special tube, the “cyclophon,” performs the separation and the demodulation of these 24 channels. In spite of the fact that the terminal equipment can handle 24 high quality telephone channels and is equipped for automatic telephone operation, the en¬ tire apparatus occupies a cabinet stand¬ ing only 8 feet high and a floor space 20 inches square. The radio frequency (Continued on page 123) 33 T here are basic differences between television and radio — from the stand¬ point of the consumer, the manufacturer of equipment, the producer of programs and the advertising executive. Please note that the radio engineer is not included in the above bracket of citizenry. The omission is deliberate and for a noteworthy reason. To the en¬ gineer — whether he be an electronic engineer or a radio engineer — video operation and audio operation are quite analogous. The handling of both requires an understanding of radio circuits and their attendant problems — simple and complex. On the basis of the foregoing, I approach the subject: “An Engineer Compares Television with Radio,” which the editors of this publication assigned to me, secure in the knowledge that I speak strictly as an engineer. As such, radio and television hold immense fas¬ cination. I like them both and I believe that both have a definite niche in our postwar world. The advent of television finds the en¬ gineer ready to make his contribution to its growth and welfare. The same held true when sound movies burst forth upon a surprised world two dec¬ ades ago. The radio engineer fitted easily into sound movies, because the problems of sound recording were those of radio broadcasting all over again from a different angle. Techniques utilized by radio broad¬ casters to simulate sound effects were quickly borrowed by the movie makers when the screen found its voice. Today, sound effects are an effective part of all entertainment, newsreels and educa¬ tional films, and in radio broadcasting today there are many engineers who, through their knowledge of and asso¬ ciation with television developments during the past decade, will readily adapt themselves to this new art. The end of the war finds thousands of Army and Navy trained technicians, skilled in radio and electronics, ready to adapt their talents to all forms of broadcasting. Radio and television will absorb them. As an engineer, I am amused by dire predictions, spoken or inferred, of dan¬ ger to existing services from television’s infringement. We have but to survey AN ENGINEER COMPARES TELEVISION WITH RADIO Television technicians must not only know voice levels, they must master controls of visual images as well. _ By J. R. POPPELE Secretary and Chief Engineer, (WOR) Bamberger Broadcasting Service President, Television Broadcasters Association, Inc. the past quarter century to show how unwarranted are these fears. The introduction of radio started a host of alarmists debating over the fate of the stage, the screen, the phono¬ graph, the newspaper and the maga¬ zine. Each form of entertainment and publication is still with us — and thriv¬ ing as never before. Let us stop worry¬ ing about television. Its expansion is as sure as tomorrow’s dawn, and existing services will merely move over and make room for it, but none will vanish. In short, television will bring a new service to millions of Americans who also will go on enjoying their home movies, radios, newspapers, magazines, theaters and motion pictures, books, golf and gin rummy. Whose Baby Is Television? The verbal wrangle over “whose baby is television?” stems from the fact that this new art borrows its techniques, in part, from a variety of accepted forms. Persons engaged in the theater claim television is like the theater. Those engaged in motion pictures aver tele¬ vision is motion pictures, projected through space. And those who broadcast our radio programs look upon tele¬ vision as their art since it is broad¬ casting with a sense of sight added. Actually, television is a combination of all three, and therefore requires a new, all-encompassing technique. The desired format still hasn’t jelled, so far as I have observed, but there is no mistaking the fact that hard working program producers are making progress in that direction. As improved formu¬ las are achieved, television will become a distinctive and very welcome art. Engineers who plan to engage in the video art are naturally most concerned with the visual phases of transmis¬ sion. They are familiar with aural techniques formulated over the past two decades — though these, too, are being improved upon from day to day. Engineers are beginning to learn the technical meaning of “immediacy.” Whereas the newsreel sound technician keeps an eye on voice level to insure adequate recording, television techni¬ cians must not only know voice levels, but picture shading and synchronization as well. The element of “immediacy” in direct news pickups via television and the tele-broadcasting of speedily edited newsreels to the home and to newsreel theatres, may relegate week-old news¬ reels to historical archives. Audience listening habits will be¬ come “look and listen” habits within a few years. Those who prefer bridge, pinochle, gin rummy, mah jong or books to televiewing, will probably also prefer the radio during these periods of rec¬ reation and those who are lured to their television sets by sports, dramas, news events and other visually inter¬ esting presentations, will forsake their hobbies from time to time for their video screen. Anyone long accustomed to listening to symphonies, on record or radio, isn’t going to abandon this pur¬ suit entirely because of the advent of television. Our listening and looking habits simply will be adjusted accord¬ ing to individual likes and dislikes. The engineer, as well as the com¬ mercial broadcaster, is looking forward to the establishment of television net¬ works. For network programming will bring television’s greatest success. The possibility of great networks is no longer doubted and cable and relay sys¬ tems are proposed by a half-dozen organizations. With their creation, tele¬ vision’s tremendous potentialities will be well on the way to achievement. No one today — certainly not the en¬ gineer — knows what the cost of tele¬ vision programming will be. But audi¬ ence size, determined by the age-old law of supply and demand, will provide the yardstick by which television, time rates and profits will be gauged. Equally unanswerable is the oft- debated question as to the merits of studio-produced programs over those on films. While we know that “immediacy” is television’s greatest asset in news and sports pickups, we do not know whether this situation will be true with regard to studio-produced or filmed dramas and other commercial shows. One thing is certain, television is here. Its growth will be swift, its ac¬ ceptance will be universal. Only time will bear out my belief that television is an individual art, and as such will find a place of its own amid other popularly accepted arts. At any rate, history is on my side. 34 Photographs by Larry Colwell OPERA, variety, drama, dancers — such as the Pearl Primus group MANY popular radio programs can double on television. "Quiz above — are television fare that may be packaged for unit sale. Kids" made a hit on WABD. Producer: American Broadcasting Co. PACKAGED TELE-SHOWS WILL UP QUALITY * Packaged tele-shows will bring the improved pro¬ gram quality for which tele-audiences are clamoring. T he word “package” first came into theatrical usage when radio advertisers began to see the value of purchasing programs as complete units rather than go through the laborious process of as¬ sembling programs themselves for their broadcast advertising. Today it is common practice for ad¬ vertisers to shop among program pro¬ duction firms and talent agencies where they may purchase the idea for a com¬ pelling radio show in one “package,” writers who can daily dramatize the idea successfully, directors who have complete knowledge of their art and actors or entertainers who can best present the program, thereby assuring the advertising sponsor of a large de¬ gree of audience receptivity required for the projection of his commercial an¬ nouncements. The purchase of a complete program makes the sponsor’s task of selecting suitable radio entertainment much easier. It not only relieves him of the many necessary preliminaries of assem¬ bly and employment, but makes it pos¬ sible to choose a show from completed test programs or lists submitted by in¬ dividual firms or agencies handling package shows. Radio Toppers Are Packaged The success of packaged shows is demonstrated by the fact that of the first fifteen programs tabulated by a prominent rating service, all were pack¬ aged with the exception of programs given over to individual commentators. In consequence of its past successful operation in radio, packaging is certain to develop in television presentation and here its worth will be enlarged at least tenfold because of the increase in time necessary for rehearsals, lighting of shows, camera placements, costuming, and other intricate program elements. Agencies which package shows will be in a position to turn over to a spon¬ sor the idea, story, director, cast, music, costumes, plus detailed ground plans and working charts for all the technical details that make television akin to pro¬ fessional Broadway entertainment. The size and quality of a package show will be tailored to measure up to the requirements of a sponsor and it is easy to envisage a package show the size of an opera company, a circus or an individual pantomimist. Motion pictures have never been able fully to capture the spontaneity of a variety program because numerous re¬ takes and the absence of a live audience “out” front deprive performers of the excitement and incentive necessary to bring out the best in their extempo¬ raneous art. Live television perform¬ ances enjoy a distinct advantage over motion pictures in this respect. As a matter of fact, live television shows will possess a considerable ad¬ vantage over the variety entertainment now presented in large capacity thea¬ ters. In a large theater much of an artist’s talent is lost due to the distance of the stage from the audience, whereas an iconoscope close-up makes it possible to see an actor’s smallest gesture at close range. The responsibility of attending to de- _ By WILLIAM MORRIS President, William Morris Agency, Inc. tails, intangible as many of them are, will be a programming element that sponsors, I feel, will be only too happy to leave to those experienced in this field. Sponsors who confine their role to over-all policy and the selection of the show are less apt to lose their sales perspective. Many a theater owner is more ready to contract for a show produced by a well-known Broadway producer than he is to risk the production of his own shows, even though he possesses many years of such experience. Scouting the Field The selection of programs is in itself a responsibility of considerable weight. Sponsors and program producers will have to keep completely informed on all types of entertainment. They must know not only what constitutes good television but must, at all times, be alert to all shows which might intrigue audiences for the benefit of their par¬ ticular product or service. The changing taste of audiences will have to be watched, will have to be studied to an unparalleled degree. Product requirements may call for a show beamed at a small segment of every town’s Main Street or these re¬ quirements may aim at a worldwide audience speaking many languages and this task may carry the widest and deepest cultural import. It is difficult to surmise how all of these elements and objectives can be brought together successfully unless television’s programs are “packaged.” 35 SPORTS FOR MILLIONS BY TELEVISION Play-by-play radio reporting helped build bigger athletic attendance. Will television help the sports box-office? - By BILL SLATER World Series Sports Announcer Nothing has ever been so rousingly successful before the fact as television. In the promises of enthusiastic tele¬ vision pioneers and in the eager antici¬ pation of future television set owners, this new art is already magnificent, revolutionary and, of course, whopping- ly successful ! A home television receiver is on the 1946 buying list of millions. But there must be many who share my fear that these zestful buyers of television receivers may be in for a sharp disappointment. This fear is based on extensive observation of per¬ sons seeing their first telecasts. Their first impression is: “Why, this is just like the movies.” Then they view a per¬ formance on the television screen that is far below the quality standard to which they’ve become accustomed in motion picture theaters. Inevitably they shake their heads and show in their demeanor the let-down they feel. Technically, television is far in ad¬ vance of its programming. This may be just another instance of today’s general unbalance between scientific advance and social or artistic progress. Our tools despite wartime restrictions are far better than our ability to use them. The television program of this 1945 autumn is an amateurish presentation smacking of attempts either to put the legitimate stage on the video screen or to adapt radio program ideas to the new medium. Sports telecasting offers no exception. Video sports, except box¬ ing and wrestling, are largely futile efforts to follow radio’s pattern. Action Area Is Important Boxing and wrestling occupy so little action space that the television camera cannot miss portraying their essence. But football, baseball, basketball, hockey — the major team sports played on a broad area — are in another category. Wartime inadequacies of equipment will soon be overcome. But inadequate con¬ cepts of how to televise these ranging sports are becoming intrenched. There is too great a temptation to follow radio’s pattern. We are of a mind to cover a baseball game, for example, with a few mobile cameras. We must realize that this job requires a perma¬ nent installation in the park and the use of no fewer than eight or ten cam¬ eras if television is to measure up to its potentialities. Sports programs in the studio must be made far more than a melange of static interviews, old film and con¬ stricted action. The point here is more than petulant carping. We are about to step out on screens in thousands upon thousands of homes of people who have some discernment as to what is good and what isn’t. If our audience is dis¬ appointed before we hit our stride, we shall have a deuce of a time winning it back, no matter how thrilling the novelty of our new medium. In telecasting sports we have prob¬ lems even greater, perhaps, than tech¬ nical set-ups and programming. We have the commercial fears of sports promoters and those whose livelihood comes from this business of athletics. And it is a business, even to the col¬ leges and universities. Hence, and soon, sports promoters and college athletic authorities must be invited into tele¬ vision’s councils. Many of them know nothing of the nature or the capabili¬ ties of television. Despite the demon¬ strated spectator-building power of radio, they cannot see how television will maintain or increase their specta¬ tor attendance. It is reported that fight mogul Mike Jacobs believes he can use television to INDOOR SPORTS, such as billiards, pool and table tennis have tele¬ vised effectively with close-ups of tricky shots and intricate plays. BOXING AND WRESTLING attract television’s largest and most avid audiences, despite the lack of crowd psychology in the home. 36 increase his audience profitably. His plan is to telecast major fights to a chain of theaters around the nation. Thus, while the boxers might be mixing it up before sparse attendance in Madison Square Garden or exchanging blows in some well-lighted studio — the gold would flow into Mr. Jacobs’ pockets via admissions paid to many telethea¬ ters across the land. Baseball, for example, presents an¬ other kind of problem. A discussion of professional baseball’s attitude toward television is slated for this winter’s big league meetings. Baseball men are con¬ servative and it is quite likely that major league baseball will enunciate a baseball television policy that will keep the “ike” out of ball parks for years. Baseball’s problems in relation to television are formidable. For example, baseball men in New York City are ask¬ ing what would happen to attendance, not alone in their parks here in the city but also in their farm team parks in Newark and Jersey City, if games of the Dodgers, Yankees and Giants are available on television screens every afternoon in the New York and New Jersey area. Tele-broadcasters and base¬ ball men must soon sit down together to work out their joint problem if an im¬ passe is to be avoided. One prominent sports leader has al¬ ready proposed informally that all or¬ ganizations controlling sports events should band together in a syndicate. One avowed purpose of this syndicate would be to protect athletic attendance from what is believed to be the threat of television. Another aim is to see that “good prices” are obtained for rights to telecast sports events. It would be easy to say that television will bring sports to millions. Television can, and should, do exactly this. What a contribution it would be to the enjoy¬ ment of the American people, who love sports! Television will not achieve this great contribution, however, unless we move energetically into the task of working out with those in control of American sports the economics of tele¬ vision’s place in the sports picture. TELE-SPORTS ANNOUNCERS WILL TALK LESS By BILL STERN Director of Sports, National Broadcasting Company I feel that television will do a great deal to promote sports in the United States. It will permit many uninitiated actually to witness their first big-time sporting event, and I believe that this, in turn, will not only prove of interest to the spectator but will make him a fan for that particular sport from that moment on. This was true in radio broadcasting and I see no reason why it shouldn’t be even more so in television. I do believe, however, that the sports announcers in television will have to adopt a different method than that employed for radio. In radio, sports announcers were the eye as well as the voice for the listening public. In television they will no longer have to be the eye. I believe that a new format will have to be developed for sporting events when the public can see these events. In television the announcers will work more as we have on news¬ reels. He will complement the pic¬ ture by explaining technical phases, and dealing more in generalities than he will in specific plays or moments. The announcer will have to learn not to speak continuously but to speak only when the occa¬ sion demands. I think, frankly, that those of us who have been fortunate enough to have had newsreel experience will find this experience invaluable in aiding and abetting television broadcasts. The worst malady a television announcer can succumb to, in my opinion, is over-explain¬ ing and over-talking, rather than letting the action carry itself as the picture unfolds. Television offers a splendid op¬ portunity for sports announcers but I would suggest to any of them who are seriously contemplating this medium, that they first try and find out what television is all about; secondly, that they learn exactly what the public can see and what the public must be told; and thirdly, that they try, if pos¬ sible, to get as much experience as they can in the cutting and editing of film subjects. For this is the closest work available at the pres¬ ent time to the conditions under which television will operate. MAJOR SPORTING events, such as heavyweight championship bouts, World Series ball games and the Bowl football games are generally conceded to be the most compelling of television programs. Home and theater audiences are expected to be at their peak for these events. 37 A LAWYER LOOKS AT TELEVISION Television’s lawyers will explore virgin territory in this new art and play a role of tremendous influence in molding the world’s social and economic future. _ By BERNARD GOODWIN Executive Assistant to Eastern Production Manager, Paramount Pictures, Inc. Vice President, Television Production, Inc. \N ith television progressing by leaps and bounds to the day when full-fledged commercial programs and countrywide and even international networks will be commonplace, its legal advisers may anticipate many headaches. It is im¬ possible, in this brief fashion, to dis¬ cuss adequately the many specialized legal questions which will arise. Some of these will be identical with those which motion picture and radio counsel have to consider. Others, of course, will very definitely be new and peculiar to the television medium. Copyright, censorship, civil rights or the right of privacy, interstate com¬ merce, unfair competition, labor rela¬ tions and taxation comprise some of the legal foundation from which television problems will spring. Legal counsel can¬ not be theoretical, in the sense of a classroom lecture or a law review arti¬ cle, but must use practical judgment in applying legal principles to the prob¬ lems presented by actual operation of the television industry. A lawyer must not only be well- grounded in his knowledge of pertinent legal principles but he must also be thoroughly familiar with television as a business. This means that a lawyer interested in preparing himself as an adviser in one or more aspects of tele¬ vision should start immediately to learn some of the basic principles of tele¬ vision engineering and in some way obtain experience in one or more phases of the entertainment world. To illustrate, let me touch upon only a few incidental yet important problems which may be presented to a television lawyer in the course of a working day. High-Speed Decisions A production manager calls him on the telephone. “Next week the Joe Doakes program is going on the air with John Smith in person singing ‘The Call of the Prairie’ dressed in a cowboy suit and with a background film show¬ ing cowboys rounding up cattle. Now, this is an ASCAP song and ASCAP can give radio stations a small per¬ forming or non-dramatic right to use this song in a radio broadcast but not even ASCAP knows whether it can give a television station such a right for a ‘live talent’ program. Anyway, ASCAP tells me, even if it could do so, it thinks such a use on television may be a grand performing or dramatic right which ASCAP doesn’t even control for radio stations. If we have to go to the music publisher and to the composers of the song, it will involve time and negotia¬ tion out of proportion to the use we want to make. What shall we do?” The lawyer has to make his decision immediately. If it were a film television program instead of live talent the prob¬ lem would be more complicated by the question of the copyright protected right of recording the song on film, in addition to the copyright protected right of public performance. Here is where a lawyer not only has to be thoroughly familiar with his law but also has to know the peculiarly complex operation of the music world and the realistic problems of television pro¬ gramming, particularly when the pro¬ gram may be carried into foreign coun¬ tries by international hook-ups. Next, the sales manager may come in to tell his lawyer a pitiful story about how much revenue the television station is going to lose because the state censors in Blank State have heard about a certain program announced for release in a few days. They have served warning that television stations in Blank will be prohibited from telecast¬ ing it. It is impossible to comply with the Blank censors, the only censorship authority taking this stand, because the proposed program will be so weak¬ ened as to be valueless. Furthermore, the sponsor is angry and threatens to go to another station or network unless the situation can be cured satisfactorily. Any lawyer can immediately see the question of interstate commerce which is involved. The immediate problem is twofold: first, to get the program on the air in the next few days and, sec¬ ond, to lay the foundation for legal action or legislation which will make this problem less acute for the tele¬ vision broadcaster. Our next hypothetical problem might be a telegram from a television station in Texas, informing the attorney that the family of Tom Brown will sue everybody they can think of if a certain television program is carried by the Texas station or is received in Texas from a station outside of Texas. They claim the program libels Tom Brown, who has been dead for twenty-five years, by impeaching his honesty and reputation. In practically all other states it is legally impossible to bring civil action for the libel or slander of a dead person but by statute in Texas it is possible. A Jack-of-all-trades Even in some of those other states, as is true in England, it is possible to institute a civil action for the libel or slander of a living person resulting from false statements about the dead. Again the lawyer must make not only a quick and good legal decision but he must study the script of the proposed program and base his decision upon his interpretation of the script from a lit¬ erary and dramatic standpoint. In addi¬ tion, he must also be prepared to sit down with the writers of the script to show how it should be revised to avoid any legal difficulties, which revision must not be couched in legal language but in harmony with the literary and dramatic value of the program, and at the same time satisfy the writers, the sponsor and producer of the program. Late in the day an executive of the television station might call his lawyer to announce that negotiations in the long-pending deal with the XYZ de¬ partment store will soon be concluded and that a contract must be drafted the next day to provide for an interchange of programs, time on the air, leased studio space and a dozen other details. Questions of corporate law, tax law, real estate law, programming responsi¬ bility and FCC rules and regulations are immediately presented. A troublesome problem during nego¬ tiations could be the one concerning control of programming, which under FCC regulations must be retained clearly and absolutely by the licensee station, but the XYZ department store may want to have something to say about its programs. A legal solution must be worked out and again the lawyer must have a thorough knowl¬ edge of legal principles, FCC rules and regulations and the practical operation of the business. (Continued on page 115) 38 One of the two television cameras placed high above the 50-yard line , on specially-built platforms near the top of the South Stands. One camera has a wide lens for remote pick-up; the other is equipped with a telephoto lens for close-up pictures. PHILCO TELEVISES PENN FOOTBALL GAMES A special monitoring screen on the announcer s table enables him to coordinate his narration with the picture that is received by the television audience. Master control room of Station WPTZ in action during football contest. For the 6th consecutive year Philco Television Station, WPTZ, in cooperation with the Atlantic Refining Company, and its advertising agency, N. W. Ayer & Son, Inc., is televising all University of Pennsylvania football games played at Franklin Field in Philadelphia. Six years ago Philco was the first to put on the air a complete schedule of football games by television. Since then Philco has continued this activity as part of its tele¬ vision research program and as a practical demonstration of the service which television can offer the public. These telecasts, through which the Philadelphia audi¬ ence enjoys an entire season of football by television, are still unique in the industry. PHILCO Jawioud Jew Qua/cty' tAe AAcw/c/ (Ue?* 39 Photograph by Larry Colwell THE ECONOMICS OF TELEVISION How soon can a television station owner expect to turn a profit? Here is some realistic thinking on the subject. _ By LEONARD F. CRAMER Executive Vice-President, Allen B. DuMont Laboratories, Inc. HAT ABOUT television as a busi¬ ness; does television make economic sense? DuMont experience dictates an affirmative, realistic “YES.” DuMont’s more than 4 years of tele¬ vision broadcasting make it possible to project the operation of a typical, aver¬ age-size full-service television station. Costs will vary, naturally, in different cities but, in the main, this is the basic thinking that must be done by a pros¬ pective station owner. First, what is a reasonable estimate of capital investment required for a full-service television station? DuMont’s recommendation, with prices necessarily subject to revision because of uncer¬ tainties in material and labor costs, are provided in the box below. Now, our prospective owner is ready to ask: What is a reasonable estimate of the annual operating costs of a full- service station? He should select an average period after the shakedown in¬ terval, say the third year of operation. Let us assume that his thinking is in terms of a one-studio station, on the air 7 hours daily, 49 hours weekly, 2548 hours annually.Two full crews, working a 48-hour week, will be required. His 12-months’ operating cost statement is likely to shape up like this: Annual Operating Cost Rental and maintenance of 12,000 sq. ft. of floor space @ $2 per sq. ft. per year . $24,000.00 Payroll : Administrative Personnel Station Manager, Program Man¬ ager, Sales Manager, Chief Engi¬ neer, Accountant, 3 Stenogra¬ phers, 2 Announcer-Producers.... 40,675.00 Technical Personnel 2 Audio Control Operators, 2 Stu¬ dio Control Operators, 4 Video Pick-up Operators, 2 Mike Boom Operators, 6 Studio Assistants, 2 Film Projectionists, 4 Master Con¬ trol Technicians, 2 Transmitter Operators, 4 Scenery Shifters and Property Men . $117,232.96 Federal Unemployment Insurance and Old Age Benefit . 3,168.16 Amortization of Capital Investment averaged over 10-year period at 5% interest . 34,743.75 Replacement of technical parts . 8,000.00 Maintenance of fixtures . 2,000.00 Power for technical equipment, gen¬ eral and studio lighting, and air conditioning (at N. Y. C. rates)... 15,000.00 Sustaining Programs 30% of Air Time: 70% films, 30% live talent studio shows and pick-ups of local events, sports, parades, educational affairs, club and church programs, etc., including rentals, royalties, scenery, properties, records and transcriptions . 27,500.00 Advertising, sales promotion, merchan¬ dising cooperation, market surveys. 25,080.00 Travel and entertainment expense.... 10,000.00 Miscellaneous: Stationery, telegrams, telephones, postage, etc . 7,500.00 Total Estimated Annual Operating Cost . $314,889.87 No one knows what constitutes a fair rate for “television air time.” But tele¬ vision can be compared to other estab¬ lished advertising media, in this wise: 63 typical half hour, full net¬ work radio programs over a 2- month period cost the ad¬ vertiser . $ .00136 per listener for time and talent The average advertisement of % page or larger in 3 major weekly magazines in a recent 3- month period cost the ad¬ vertiser . 00465 per reader for space and preparation The average of all half and full page advertisements in 67 newspapers cost the advertiser .00928 per reader for space and preparation Noted marketing authorities agree that commercial television — sight-plus- sound selling — carries a sales impact fully 10 times greater than radio (sound alone), and enjoys an equally impressive advantage over most and possibly over all visual mediums (sight alone) . Logically, therefore, television time may be priced somewhere between radio and magazines . . . say a rate of $.003 per person per half hour evening program. At the end of the second year of op¬ eration, any television station in a major trading area of 250,000 families will be able to reach at least 20,000 television receivers. (This represents only 8 per cent of the families — and THE CAPITAL INVESTMENT REQUIRED FOR A TELEVISION STATION }* Two DuMont Studio Cameras, with push dollies DuMont Studio Control Desk Specially Designed Mobile Camera Dolly DuMont Master Control Board Studio Lighting and Audio Equipment Two 35 mm. Special Film Projectors @ $6,000.00 ea. Two 16 mm. Special Film Projectors @ $2,000.00 ea. Two DuMont Film Pick-up Cameras DuMont Transmitter 25 KW peak Video and equivalent peak Audio . Suitable Antenna with supporting tower located on same building . . Spares and Test Equipment . DuMont Field Camera Pick-up Equipment, including two cameras . Field Audio Pick-up Equipment DuMont Field Relay Transmitter DuMont Relay Receiver . Truck with Generators and Antenna Sub-total . . . 23,000.00 2,500.00 35,000.00 10,000.00 12,000.00 4,000.00 6,000.00 65,000.00 10,000.00 13,000.00 24,000.00 1,500.00 8,000.00 2,000.00 5,000.00 $221,000.00 Auxiliary Equipment, Installations, etc. (costs dependent on local conditions). Installation of Television Broadcasting Equipment Structural alterations to an existing building, electrical wir¬ ing, studio soundproofing, etc. Fireproofing of Film Projection Room Furniture, fixtures and decoration Sub-total . Total Initial Capital Investment $ 15,000.00 25,000.00 1,500.00 10,000.00 $ 51,500.00 $272,500.00 40 marketing experts anticipate that 10% of the families will buy receivers within this time span.) If 25 per cent of these 20,000 re¬ ceivers are tuned to your station during an average evening program — a con¬ servative estimate for the first few years’ operation — you will have an audience of approximately 5,000 sets. If 8 persons make up the average receiver’s evening audience — and sur¬ veys show that, including both home and public sets, the range is from 5 to 11 persons — then some 40,000 persons will view the average evening program. An evening audience of 40,000 per¬ sons at $.003 per person per half hour indicates a rate of $120 per half hour — the equivalent of $200 per hour and $80 per quarter hour. Such a rate would be comparable to a typical radio station operating in a market of comparable size. Actually, radio stations charge from $160 to $800 per hour, depending on their coverage. Reduced to a working rule, DuMont’s studies indicate that when television homes in any trading area represent 5 per cent of the number of radio homes classed as regular listeners by a stand¬ ard radio station, then a single tele¬ vision station’s air time rate should at least equal that of the radio station’s rate. We now ask: How much of its air time may a station expect to sell? DuMont experience and research indi¬ cate that television stations should very quickly find commercial sponsor¬ ship for 70 per cent of their air time, leaving only 30 per cent to be met with sustaining programs. The programming of a station on the air 49 hours weekly might break down as shown in the box at the top of this page. Audience opinion surveys and radio precedents indicate a probable break¬ down of the above 1781 hours of spon¬ sored time into 1780 quarter-hour, 2228 half-hour, and 222 full hour shows. Based on the preceding data, this rep¬ resentative, full-service station should enjoy the following annual sales in¬ come : Annual Sales Income 1780 quarter hours at $80 each (40 per cent average hourly rate), less 15 per cent advertising agency com¬ mission . $121,040.00 2228 half hours at $120 each (60 per cent of average hourly rate), less 15 per cent advertising agency commis¬ sion . 227,256.00 222 hours at $200 per hour (average of afternoon and evening rates), less 15 per cent advertising agency com¬ mission . 37,740.00 Total Annual Income from the sale of Air Time . $386,036.00 This station’s annual operating pic¬ ture will look like this: Annual Income from Sales of Air Time . $386,036.00 Annual Operating Costs. . $314,889.87 National Advertising Rep¬ resentative’s 15 per cent Commission on 40 per cent of Time Sales (after agency discount) 23,162.16 338,052.03 Net Operating Profit (before taxes, insurance or legal fees) . $ 47,983.97 This operating profit of $47,983.97 is 17.6 per cent of your capital invest¬ ment; it represents 12.4 per cent of the gross income . . . considerably better PROBABLE BREAKDOWN IN STATION PROGRAMMING Commercial Programs : Hours Horn's Hours % of Sus. Dailyf Weekly Annually Total Air Time Sponsored film programs . 2% 15% 819 45.9 32.14 Live talent studio shows 1% 10% 546 30.7 21.42 Remote or field pick-ups 1% 8 416 23.4 16.32 Commercial Total 4% 34% 1781 100.0 69.9 Station- sustained Programs : Film programs . iy2 10% 546 71.2 21.42 Live talent studio shows . % 3% 182 23.7 7.14 Remote or field pick-ups . — %* 39 5.1 1.53 Sustainer Total . 2 14% 767 100.0 30.1 Total 6% 49 2548 100.0 -This allowance of 45 minutes per week is an averaged allowance for special or emer¬ gency news coverage. Events like parades, fires, sports meets, etc., may in one day use up the allowance for a month or more. fAveraged hours daily. Scheduling will probably change with each day. than the profit margin realized by many standard radio stations. Suppose our prospective station owner envisions a more ambitious operation than we have sketched. Larger plans mean more extensive rehearsing. There¬ fore, he will need two live talent studios. He will also need one addi¬ tional crew. Opening this second studio requires the following additional investment: Two DuMont Studio Cameras with push dollies . ) DuMont Studio Control Desk . J$23, 000.00 Alterations and Installation estimated. . 12,000.00 Studio Lighting and Audio Equipment. 10,000.00 $45,000.00 It also adds the following items to the basic operating cost breakdown given earlier: Rental of additional 1200 sq. ft. of floor space at $2 per sq. ft . $ 2,400.00 Payroll increase: Complete extra studio crew . 39,839.28 Federal Unemployment Insurance and Old Age Benefits . 796.79 Replacement of technical parts . 1,000.00 Additional power for technical equip¬ ment, general and studio lighting and air conditioning . 1,500.00 Amortization of Investment in addi¬ tional camera chain, lighting and audio equipment alterations, etc., averaged over 10-year period at 5 per cent interest . 5,737.50 Added cost of Studio No. 2 . $ 51,273.57 Total Operating Cost per year on 1- studio basis . $314,889.87 Total Station Operating Cost per year on 2-studio basis . $366,163.44 Two-Studio — Three-Crew Operation While the operation of two live tal¬ ent studios increases the basic annual operating cost by 16.2 per cent — the gain in programming benefits is, of course, proportionately much greater. It is reasonable to assume that before extending the activity of the station to include an additional studio and crew, a certain basic advantage must be established— namely a widely increased sale of television receivers within the reception area resulting in an appre¬ ciable increase in audience which would justify a 15 per cent higher air-time rate. The financial picture follows: Income from Annual Sales of Air Time: 1780 quarter hours at $92 per hour (40 per cent of average hourly rate), less 15 per cent agency discount . $139,196.00 2228 half-hours at $138 per % hour (60 per cent of average hourly rate), less 15 per cent agency discount . 261,344.40 222 hours at $230 per hour (average of after¬ noon and evening rates) , less 15 per cent agency discount . 43,401.00 Total Income . $443,941.40 Annual Expense: Annual operating cost with two studios and three full technical crews . $366,163.44 National Advertising Representative’s 15 per cent commission on 40 per cent of time sales (after agency discount) 26,636.48 Total Expenses . $392,799.92 Net Operating Income for an average year, before legal fees, taxes or in¬ surance . $ 51,141.48 The 2-studio station operation described above would yield a 15.8 per cent profit on its total capital investment, $317,500 (this includes addi¬ tional camera chain purchased for Studio No. 2) : a 11.5 per cent profit on its gross income. Employment of three crews for the operation of two studios makes it pos¬ sible to have a full crew available daily from 9 A.M. until 11 P.M. This permits an extremely flexible operation, greatly facilitates handling of unplanned re¬ hearsals and emergency pickups of re¬ mote field events, and helps to keep technical crews within their 48-hour work week. A Network Affiliation A network affiliation — whether by cable or relay boosters — means that many of a station’s programs will be supplied without production trouble or expense. If considered as an addition to the 49-hour weekly independent opera¬ tion here described, this affiliation means many additional hours of pre-sold time with no additional operating charges save for power. Also, it assures top¬ flight expensive productions originating in the three major entertainment centers. Applying the precedent established in radio network relations to the television network operation, the network rate will probably exceed the local rate by at least 10 per cent. Networks shoulder heavy sales and operating costs, but customarily guarantee each station 3714 per cent of the network time rate, ( Continued on 'page 128) 41 AN ADVERTISER LOOKS AT TELEVISION Exploration of television’s commercial possibilities reveals that it’s up to the broadcasters to make the medium an effective instrument for the advertisers. - By CHARLES J. DURBAN Assistant Director of Advertising, United States Rubber Company Nearly two years ago United States Rubber Company decided to explore the possibilities of television, keep in touch with its progress and be prepared to use it “if, as and when.” We thought when we started that television was potentially one of the strongest, most effective of advertising and merchandising mediums. Time, study and experiment have not changed our opinion. But please note the em¬ phasis on the word “potentially.” Much depends on the manner in which tele¬ vision is developed and this, in turn, hinges on the breadth of vision, intelli¬ gence and philosophy of the men man¬ aging the industry. What is television? Certainly it isn’t radio or stage or screen, though it par¬ takes of all three. It can visually and audibly teach and inform — bring you the news as it happens — tell a story — entertain. And it can demonstrate and sell products. Most Flexible Art in History In practice, television has, at the mo¬ ment, stringent limitations. Yet as a medium for conveying human thought and feelings, it is the most flexible art in all history. During 1945 we presented a number of half-hour programs* over station WABD, New York. While these were strictly experimental and for the pur¬ pose of adding to our own store of knowledge, we scored several television firsts'. The fact that viewers liked some of them was our great good fortune. Among the experiments attempted was the teaching of geology — normally a rather dry subject — in co-operation with one of the leading New York col¬ leges. The professor who held the chair in this study took the lead role — play¬ ing himself. Members of the faculty as well as students from the regular geol¬ ogy class were in the audience, and the result was an urgent request from the college that they be permitted to co-operate with the company in a series of programs of this type for the benefit of all concerned. On another occasion, a half hour was devoted to the dramatization and demonstration of one of our products which lent itself to such treatment. Still another was composed entirely of one of our institutional motion pictures which took the viewer through our va¬ rious plants and showed him the actual making of the many products for war which we were then manufacturing. We learned that television, above any other medium, can capitalize on the public’s very real interest in industry and on its consuming curiosity as to the use of products. This is particularly true when products are in the style field, or contribute to comfort, conven¬ ience or safety. Naturally, the method of presentation is important. Shipwreck in the Studio We did a shipwreck at sea in a 9'xl8' tank with 10" of water, right in the studio. We built camera ramps and experimented with various lenses. We tried a number of motion pictures, finding all too often that regardless of the merit of the picture they seldom televised very well. We picked up a radio quiz show “as is” and televised it exactly as it would have been pre¬ sented in radio. Later, we altered and improved it specifically for television. We did a lot of other things, both orthodox and unorthodox. We made an enormous number of mistakes. But from them we learned. We learned that the producer, writer, director and the key man on the control board form the “backfield.” And that everyone else in the studio is on the “line” — camera men, cable girls, technicians and cast. Some of the things we did could only have been accomplished because every¬ one was on the team and knew it. That’s not new in the theater or in Hollywood — but we didn’t find it being done in television. We cannot agree with motion picture men who are inclined to look at tele¬ vision as a new way to get moving pictures into the home. We have a dif¬ ferent approach than so many of the radio people who quite unconsciously approach television pretty much in terms of enlarging the radio studio audience. “Use" Development Next Only a few within and without the industry are approaching television as a completely new and different medium. We believe that the television industry itself, heretofore concentrating so strongly and justifiably on mechanical and technical details, must henceforth devote much of its best brains and in¬ telligence to developing the use of this magnificent new medium. * See page 101 for complete resume of United States Rubber Co. television activities. A THOROUGHLY TESTED INVENTION “Television will be the biggest and most fascinating of the country’s newest industries. It will provide new employment for many thousands of ex-service men and women. It will furnish a broad public service of information and entertainment that will be just as new and original and different from anything in the past as were the automobile, the airplane, the motion picture and the radio when they were introduced. Yet none of these important inventions, when first offered to the public, had been so thoroughly tested, or had reached a degree of advanced technical development comparable to the television which now is ready for the people of the United States.” — Niles Trammell, President , National Broadcasting Company 42 Photographs by Larry Colwell A PAGE of scenes from U.S. Rubber's "serving through science" series at WABD. Above, a realistic life-raft drama in a huge specially-constructed studio tank. RUBBER'S role in blood transfusions was com¬ bined with a wartime appeal for blood donors. TRAGEDY strikes in a program depicting old medical practices. A simple setting, LOCALIZED resilience of rubber cushioning authentic costuming, beautiful lighting, well directed. Audience reaction: Excellent. demonstrated. Child appeal aids Al Henderson. MUSIC and pantomime help to tell a story of transportation. Floor manager Frank Bonetta rocks the carriage realistically from his lowly position between the wheels. APPLYING fire to an asbestos suit, one of many war-born products with peacetime usefulness. 43 USES OF FILM IN TELEVISION Suggestions for incorporating film in tele-programs, prefilming broadcasts and preparing news telecasts. _ By JOHN FLORY Executive Producer, Grant, Flory & Williams The growth of television, to a great extent, will depend upon adequate pro¬ gramming quality. Motion picture film promises important contributions to¬ ward the achievement of this objective, hence the following advantages of film are worth keeping in mind. Film inserts — either specially shot or compiled from library footage — can be interspersed throughout a live talent show to give greater scope, a feeling of reality to a program, and to bridge un¬ avoidable gaps caused by costume changes or set changes where studio facilities are limited. Until television pickup cameras now in use are improved, film will be found to be more sensitive and accurate in reproducing the tone values of reds and other shades of color. Film, therefore, is particularly important in displaying fashions and packaged merchandise. The motion picture camera also sur¬ passes the television camera in depth of field, making it easier to keep actors and objects in focus. Until satisfactory television lighting units are developed, preparing the video material on film at the outset will pro¬ vide a more artistically lit composition on the receiver screen. Comparisons with Movie Production Most actors prefer film over live tele¬ casts because it permits a more polished performance. “Blow-ups,” “flubs,” and poorly-paced scenes can be discarded and redone in the movies; not so when a video show goes out live on the air. Prefilming a program means a lot to the sponsor footing the bill. He knows in advance exactly what he is buying. Unlike radio, television requires ac¬ tors to memorize lines and action. Any sudden illness or absence of a key actor, therefore, precipitates a pinch- hitting problem. Prefilming of telecasts avoids this possibility and assures bet¬ ter continuity. In the same way, mistakes and “blow-ups” during product demonstra¬ tions can be forestalled. Imagine the sponsor’s consternation in a live tele¬ vision demonstration were a crucial zipper to get stuck, or a particular brand of jiffy suds to fail at the vital moment to look impressively cleansing. Live talent shows require a large crew of actors, production people, and engineers for studio maintenance. Thus, as one authority points out, if satis¬ factory motion pictures can be pro¬ duced at reasonable prices, the over¬ head of a small station (in the early stages of the industry) can be reduced — through a projector pickup iconoscope camera — to two engineers and a projec¬ tionist. Many new stations, obliged to start out modestly, will discover that motion pictures can satisfactorily pro¬ vide the bulk of the programs they put on the air. Film and Networks Film offers a practical way of achiev¬ ing a national network. It would overcome many cost and technical diffi¬ culties and tie remotely situated sta¬ tions together more economically than either coaxial cable or relay stations. In present-day radio broadcasting, differences in time — such as exist be¬ tween New York and California — fre¬ quently mean that an advertiser want¬ ing national coverage for a network show is saddled with the expense of a repeat performance. Such repeats will be a far more serious matter in tele¬ vision network operation, in view of the greater original cost of video program¬ ming. Film would seem the solution. Technical advances will soon permit elaborate live talent shows to be tran¬ scribed on film from the station’s moni¬ tor screen or from a receiver. These film transcriptions can later be telecast from other stations — thereby effecting an all around saving. For reference pur¬ poses, or as a lasting legal record of what went out on the air, such films may prove invaluable. Portability of motion picture equip¬ ment is another advantage of film when a television station, attempting to operate with a small personnel, must cover remote pickups. Many news events will not occur at times when a maxi¬ mum television audience is tuned in. But a film record can be telecast to take advantage of the greatest number of set watchers. The minute movie type of film tran¬ scription offers an economical way of handling spot advertising. A whole new field is opened to tele¬ vision through the use of animated motion picture cartoons. Many points can be made more effectively by this technique than by live action, particu¬ larly in devising commercial plugs which entertain. Animated cartoons of¬ fer an ideal way of illustrating a com¬ plicated machine, process, or concept. (Continued on page 124) TYPICAL tele-filmed news events were Washington and New Yorlt receptions to General Eisenhower, filmed and televised the same day by WNBT. Filming permits dramatic editing. 44 TELEVISION AUDIENCE RESEARCH What do televiewers expect to see and hear? Some¬ thing, says research, that they cannot get from either radio or motion pictures. Television’s role is unique. By OSCAR KATZ _ Associate Director of Research, Columbia Broadcasting System, Inc. Kadio broadcasting began without benefit of any kind of audience research. Broadcasters shot their programs into the air. They (the programs) fell to earth. They (the broadcasters) knew not where. The mystery of “Where?” was so intriguing that, in searching for an answer, nobody asked “How?” Radio research was started in the quantitative field — to answer the “Where?” to measure the size and lo¬ cation of audiences. Not for years was work begun in qualitative research — to find out the “How?” how programs in¬ fluenced people, and how people liked or disliked programs. As a result, early radio programming followed a tortuous, hit-or-miss trail of development. Pioneer radio’s pioneer listeners were a rugged race. If station WAAA re¬ ceived a telegram, “Program coming in fine. Please play Valencia," station WAAA’s listeners would hear Valencia, like it or not. If a sponsor’s Aunt Tabitha had a liking for Irish ballads, the sponsor’s audience would get Irish ballads from noon to breakfast. Luckily, the novelty of the new medium, together with the tolerance of its first listeners, were enough to carry audiences through to the day when programming was based on facts rather than guesswork. Profit from Radio's Findings There is no excuse for television, in its programs, to follow radio’s course of trial and error. Radio audience re¬ search, late as it was in beginning, has made great progress in recent years. Many of its findings and certain of its techniques can, with slight adaptations, be applied to television audience re¬ search. If television fails to take ad¬ vantage of its natural inheritance from radio’s research, it will find no con¬ comitant inheritance of naivete and tol¬ erance from radio’s early audience. These happy characteristics have van¬ ished. The television audience, from the first, will be realistic and hard-boiled. Television is now completing an ex¬ tended, war-born period of rehearsal, during which its programs — and mis¬ takes — have been seen by only a few thousand people. Since Pearl Harbor, the television audience has remained relatively constant, if it has not ac¬ tually diminished, through set break¬ downs. Television programming, on the other hand, has not remained static. About eighteen months ago, CBS Re¬ search began some television experi¬ mentation of its own, with the object of uncovering material that could be used as guidance in television produc¬ tion. The first experiments were with small audience panels, usually made up of people with little or no experience as televiewers. These soon took the form of regular weekly studies that have now been conducted on a continu¬ ous basis for over a year. It wasn’t long before CBS concluded that the field it was exploring was not only wide, but extremely productive. In January, 1945, it announced the forma¬ tion of Television Audience Research Institute — a separate division of its own research department. Working with its own staff, TARI devotes its efforts exclusively to television, and has al¬ ready initiated a number of original studies that are producing material of value to tomorrow’s programmers as well as today’s. CBS intends to continue its television audience research indefinitely, and on a widely expanded scale. Much more re¬ mains to be done than has yet been accomplished. On the other hand, there is tangible evidence that research has already spared the coming audience a certain amount of pain it might other¬ wise have suffered. Certain program faults, for example, have been revealed and corrected through the suggestions of audience research, and subsequent tests have gained audience approval. More important, in my opinion, than any specific examples of program im¬ provement are some general conclusions that are beginning to emerge from our months of study. Conclusions drawn from individual reaction or opinion are, of course, meaningless. When a reaction or opinion represents a group majority, however, and when it is expressed re¬ peatedly week after week, certain con¬ clusions are justified. The comments that follow are based on that type of cumulative evidence. Radio and movies, in the past twenty- five years, have spoiled the American people for any inferior medium of en¬ tertainment, however new and miracu¬ lous that medium may be. People have already accepted the miracle of tele¬ vision. They will buy sets for what those sets can bring into their homes; not for the thrill of snatching pictures from the empty air. They are extremely interested in television and innocently confident that it will bring them what they want. They will be most intolerant if programs fall far short of expectations. Viewers "Participate" in Events Sports, special public events and other newsreel-type material will prob¬ ably be the most popular television programs of the near future. (Fortu¬ nately, these are also the most easily produced.) Viewers sense a feeling of reality or participation in these pro¬ grams that they never experience in a newsreel theatre. They realize that they are watching an event at the exact mo¬ ment of its occurrence; that “anything may happen” and they will be eye¬ witnesses. It pleases them to think that they can, almost literally, be in two places at the same time. For a while at least, television-view¬ ing will be a group or family activity. It may even be the focal point of neighborly social activity. So long as this is true, program selection and con¬ tent should be influenced if not gov¬ erned by that fact. A demonstration of gas-engine construction would bore Mother, just as a prolonged showing of millinery would fatigue Father. More¬ over, we have found that costumes and situations that are perfectly acceptable on stage or screen are not necessarily acceptable in a home atmosphere. There seems to be an exceptional in¬ terest in television as an educational medium. Educational programs, if rea¬ sonably well produced, are well received, and almost always suggest to viewers other subjects and themes they would like to see treated in the same fashion. Women are quick to recognize how tele¬ vision may help them with their house¬ work, by showing how to do things — how to make a dress, use cosmetics, pre¬ pare a meal or take care of children. Most of the programs seen by our audience panels have carried no adver¬ tising. Respondents invariably notice the absence and comment about it. Peo¬ ple expect and want advertising in ( Continued on page 118) 45 T he fashion and beauty industries — with their allied industries of fabrics, jewelry, accessories, hats, shoes, etc. — occupy approximately 600,000 workers in the United States. It is impossible to estimate the correct amount of money invested in these industries. In 1939, many of them did not keep itemized statistical records, and 1939 records, anyhow, have slight value in arriving at present estimates. The Department of Commerce, in April 1945, quoted four billion dollars as the value of fashion merchandise sold annually in retail sales. This fig¬ ure, covering only retail fashion sales, does not include other billions in sales made by the associated industries. During the past few years American fashion has developed greatly for sev¬ eral reasons. Foreign imports were cut off, large sums were spent on fashion items by women having extra money from war jobs, and added to this has been the general trend of the public to spend more freely. The outstanding de¬ velopment in this field occurred in the beauty industry, which consolidated the American market and won more inde¬ pendence from French imports. Every branch of the industry will re¬ ceive a terrific impetus through the TELEVISED fashions show garments from many angles, permit audiences to see full crafts¬ manship idetails, all from a front-row seat. TELEVISION AND FASHION The development of a high standard of fashion think¬ ing is advisable for all telecasters and an absolute necessity for advertisers of fashion-styled merchandise. By CONSTANTIN JOFFE Vogue medium of television. Women will be subjected to a constant bombardment of fashion news and fashion counseling in their homes. Hour after hour every day of the week fashion from every point of view is going to fill screen time. As a result of this new presentation, the fashion industries will gain an entirely new market and the already existing market will be tremendously expanded. To illustrate the birth of new buying power let us take the example of mail¬ order catalogs and the businesses they developed. They created a desire and a demand for merchandise on the part of women living in isolated communities. The impact of a twice-a-year catalog obviously is far surpassed by the glamor of daily television advertising. Raise Tastes in Fashions As to promoting the already existing buying power, the most important thing that television can do for the fashion industries is to raise standards of taste and stimulate fashion con¬ sciousness. The leaders of these indus¬ tries should realize their opportunity and duty to bring to every American woman the most highly cultivated con¬ ception of good taste and good looks. These refinements will no longer be the exclusive prerogative of the city woman. A television fashion service penetrating rural as well as urban areas will help everybody in his own sphere of living to be perfectly dressed and groomed. Today’s technical achievements must not limit our imagination and plans for television. It may be “Stratovision” with the help of planes, or coast-to-coast net¬ works by means of coaxial cables, or relay towers. Whatever it is, we must realize that the important buying power of the nation soon will be covered by a television network. Should we telecast fashion programs in hours chosen when women are at home alone? Or should we consider edu¬ cating the man of the house to a finer appreciation of a woman beautifully dressed and groomed? Should we have programs frankly displaying their mer¬ chandise for sale, such as the Macy five-minute programs prepared by RKO Television? Or try to create desire in the onlooker to be as well dressed and groomed as the actress on the screen. Also, should we try to combat the fleeting impression which movement on the television screen leaves in our minds, or should we exploit this fleeting (Continued on page 134) SPORTS COATS televised by a New York department store were shown as "fashions in action" rather than in the studied, stereotyped manner of most style shows, greatly stimulating audience interest. Presenting products "in use" has proved much more effective than artistic display. 46 TELEVISION IN THE RETAIL FIELD There is excitement and interest for women in “news of merchandise” and a whole new profession is needed to present this news visually and dramatically. By I. A. HIRSGHMANN _ Vice President, M etropolitan Television, Inc. I elevision is on the way as a regular service for our people. Nobody can stop its progress. The people who might delay it or in¬ terfere with it may be those who would like to make it an overnight profitable success. That would be the most deadly means of retarding its development. Technically most of the television problems have been met through the coordination of the best engineering minds under the auspices of the govern¬ ment in the war. In contrast, program¬ ming has not even had a start. And pro¬ gramming is a field that will call for the best imagination and the best im¬ plements that we have learned to use in other related arts. I have absolute faith that we will learn how to do it well and inexpensively. I also think that we will probably learn the hardest way, which in the long run is the best way and the way we seem to do things in this coun¬ try. The most dangerous kind of think¬ ing that we can indulge in is along these lines: 1 — That television sets will quickly re¬ place radio sets in everybody’s home. 2 — That television will be so revolution¬ ary that it will interfere with or frustrate the moving picture busi¬ ness, the radio business, the news¬ paper business and change the habits of the American people. We ought to know now from the his¬ tory of even our most exciting develop¬ ments in the fields of communications and entertainment that it does not work that way. Moving pictures are just be¬ ginning to become less sappy, more in¬ telligent and well-integrated. Progress Will Be Gradual Our memories are probably short, for most of us forget that from 1920 to 1929, in the boom of the postwar era, radio went through its fumbling pre¬ paratory stages. Television will also develop gradually. If it does not, some¬ thing will be wrong with it. In recent years as we moved into an unparalleled boom in advertising, with radio selling at a high level, we sud¬ denly learned that the technical method for broadcasting was outmoded; that FM would supply a much more desir¬ able service; that radio principals were rushing to develop this new field which inevitably would replace AM radio. This ought to provide some kind of a lesson that there is no final technical word when you are dealing with the ether. There is no last frontier in the field of the unknown. Our steps ought to be bold and well-aimed. But we must always anticipate the possibility of a revolution just around the corner prob¬ ably started by fertile-minded young¬ sters who have had first-hand oppor¬ tunity in this war to use mechanical instruments which are destined to be¬ come tools of the future. This should not give us pause or haste but courage and confidence, for we know that the fields will be broad and open with newer possibilities and opportunities than any of us dared to dream about, even in our optimistic moments. I would make a plea for good stand¬ ards of programming for television in its early stages. I think that radio with all its success is underselling the Amer¬ ican people; that it could be raised sev¬ eral notches higher in intelligence and appeal, sell just as much goods, if not more, sell good-will along with it, and sell itself as the valuable instrument that it is. Advertising on radio need not neces¬ sarily be offensive or defensive. People gladly give credit to a company that supplies decent entertainment, humor, music or information. They will do it all the more willingly when a program assumes that its average listener is SUBTLE COMMERCIAL: The sponsor's product — table linen — has been constantly in view STORE CONDITIONS can easily be repro- as the action of a short drama centered about a dinner table. The commercial simply duced in the studio, permitting customers to answers questions that women in the audience might quite naturally wish to ask. feel that they are "shopping by television." 47 PROCEED WITH CAUTION By NORMAN D. WATERS President, Norman D. W aters & Associates, Inc.; Past President, American Television Society, Inc. For the good o'f television let us all take care not to oversell it to the public or the trade. Let us see that there are no more backward steps in its forward march! Let us beware of those who would create greater immediate expectations than television can truly fulfill. No one can challenge the fact that a great new industry is here in all its glory. Vast improvements will come with the passing of time but the fact that television is here and ready to become a great force for public good is indisputable. In our boundless enthusiasm, let us not promise too much too fast . . . let us not disappoint the public again ! Programming is today’s para¬ mount problem, and unfortunately very little progress has been made in solving it. One hears wild specu¬ lations concerning the types and costs of future television programs. Radio was bombarded with identi¬ cal criticism, yet solutions were dis¬ covered. One basic principle ap¬ plies — and it is even more true of television. If the service itself is of sufficient value to the public, an answer will be found for all cost difficulties. If television programs are as effective commercially as we all anticipate, advertisers will stand in line to foot the bills and assure handsome profits to all concerned. The crying need in television is to attract the great creative minds of America to the task of develop¬ ing programs that the public wants to see and learning how to present them most effectively. Everything else revolves around this central point. If John Doe wants to see television regularly, he’ll buy a re¬ ceiving set. If he buys enough sets, advertisers will want to use tele¬ vision time. If broadcasting be¬ comes profitable, stations will spring up like mushrooms through¬ out this country and the world! John Doe, in the televiewer’s chair at home is boss, and always will be. He will call the tune to which all in this great new art must dance! More and more outstanding pro¬ ducers and directors of the radio, motion picture, theatrical and ad¬ vertising fields are seriously study¬ ing television. All of us are begin¬ ners in the complex art that pro¬ gramming represents; but many are rolling up their sleeves, pitch¬ ing in and learning fast. The American Television Society has served as a rallying point for all who foresaw the greatness of television and worked for its ad¬ vancement. It has increased oppor¬ tunity and responsibility today. I believe its strength will always lie in its complete independence as an organization. This independence en¬ ables it to function as an impartial forum for threshing out television problems as they arise. It has nobly served this cause in the past and a great future stands before it. The careers of those in television are best served by conscientiously safe¬ guarding the interests of the public and of the industry as a whole. several grades above a moron. So long as I live I shall continue to repeat that it is never necessary or desirable to talk down to people. We should bring people up to a product, not the product down to them. Not that department stores have made effective use of radio! On the con¬ trary, it is apparent that stores have fumbled badly in their use of radio. When it was a new medium they ig¬ nored it, then feared to use it, and finally edged into it. Radio is as spe¬ cialized as any department in their stores and requires an equally special¬ ized approach and treatment. Only gradually, and late, stores are coming to a realization of this fact. It is my sincere hope that department stores will approach television at the start with the thoroughness, intelli¬ gence, boldness, and resourcefulness that they have used in developing their businesses, their displays and their newspaper advertising. A great contribution to the entire field of television can be made by the stores. They are a vital link in the pro¬ motional follow-through of this new medium. My impression is that depart¬ ment store owners will not be blind to it for television will offer them a minia¬ ture show window in everyone’s home. Great care, time and large expendi¬ tures are lavished on stores’ exterior show windows. And equal attention, by many stores, is concentrated on vital interior display. It will require this same kind of specialized skill and re¬ search to build effective television show windows in people’s homes. I see an entire new industry of men and women trained to present merchan¬ dise visually, in dramatic, interesting, salable fashion. It will not be possible to drape a fabric or a dress in front of a tele-lens and have people remain in¬ terested in it. Remember, it is a dy¬ namic process in a dynamic age! The question will be asked: How can stores compete effectively with world news, expensive entertainment and sports events, which may be viewed as they occur? The answer is, the depart¬ ment store has its own function to per¬ form in television. In the vocal you can tie a selling message to a news program. In the visual the message is the “bread and butter” itself, that is, the actual mer¬ chandise. In newspapers and magazines, for example, we advertise the actual goods, not a news program. In tele¬ vision we will come back to this practice but, with a different technique. We shall be able to offer our cus¬ tomers the news of merchandise, take them behind the scenes as merchandise comes into the store. We shall present a visual catalog for shopping, drama¬ tically and interestingly. Obviously, no store can expect to get away with shooting a camera at static goods. Dramatic Demonstrations to Come There is excitement and interest for women in stores, in their activities in the use of all the new things that are beginning to explode upon us. The back¬ ground of many old and new things can now be interestingly presented to the public. The miraculous scientific story of a new fabric like nylon can be dramatized by showing the method of production and by letting laboratory tests demon¬ strate why it wears so well. Bureau of Standards’ tests, so dry in reading, can be brought to life and can prove before your customers’ eyes that materials will not stretch, fade, or wear out, except under certain duress. Merchants who are struggling to find the solution to the present static win¬ dow display will eventually find their answer in the dynamic television screen which provides movement, vitality, in¬ terest, change and immediacy. Your cus¬ tomer of the future facing what is now the framed still-life window display will find herself looking into active moving exhibits of merchandise either within the store or from other sources. One day soon our present type of window display, compared with the future television window, will probably seem like a framed picture of dead fish in a Victorian dining room. Department stores will do well at this time to begin studies of television tech¬ niques. It is not necessary to build enormous equipment to do so. Somewhat small flexible devices will be available for rehearsal and experimental work. Every retail advertising department of the future will have studios devoted to (Continued on page 127) 48 TELEVISION DOLLARS AND SENSE Television’s real progress as a public service will be¬ gin when thousands of programming and advertising people begin thinking constructively on its problems. By PHILIP MERRYMAN _ _ Director , Facilities Developments and Research, National Broadcasting Company At the beginning, I want to make it clear that I have no “prevision” on television. I have looked at the facts — learned by experience while developing sound broadcasting. I have examined most of the evidence available, good and bad, concerning the problems we expect to meet in television. From these explorations I have drawn the conclusions that follow. It is not my purpose to argue with any one regarding the technical stand¬ ards for television. I prefer to let the public decide whether six megacycle black-and-white television is satisfac¬ tory. The pent-up demand for postwar television is apparently so great that it will reach floodtide as soon as new sets appear on the market. If we are to de¬ prive the public of these sets we need very convincing reasons. King Canute could not stop the tide. It is just as foolish to believe that television can be withheld from an eager public. One fact is certain — a television pic¬ ture cannot be evaluated in the same terms as an oil painting. Television pictures were not intended to grace the walls of world’s art galleries. They were created for the specific job of bringing into homes and public meet¬ ing places, the living, vital, instan¬ taneous reproductions of the pictures and sounds associated with interesting human or natural events wherever they may occur. Any attempt to evaluate the television picture on any other basis leads to fundamental errors of interpretation. Flawless Image Is Objective Of course, the television industry will not be content until it achieves a pic¬ ture as flawless as nature itself but this ultimate goal cannot be reached through laboratory research alone. Like the automobile, its final perfection will be attained only after millions of peo¬ ple have contributed to its improve¬ ment. The names of the engineers who have devoted major efforts to the de¬ velopment of television can be counted by hundreds — perhaps by thousands — but the names of the program, adver¬ tising and business men who have de¬ voted creative thought to the develop¬ ment of a television service can be counted on the fingers of two hands. Television’s real progress as a public service will begin when thousands of such men think constructively on tele¬ vision’s problems. Yet all the constructive thinking in the world will not carry television for¬ ward unless labor offers a full measure of co-operation. This failure to evalu¬ ate the future possibilities of television in terms of its present status is par¬ ticularly evident among organizations that have the greatest stake in the ultimate place of video art in the en¬ tertainment field. Orderly progress in television is de¬ pendent on far more than the initiative of broadcasters. They cannot do the job alone. They must have the sympathetic support of all factions concerned. With little financial return from their pio¬ neering activities at this time, any ad¬ ditional burdens the television compa¬ nies are forced to bear because of the extreme demands of labor groups might easily retard the extension of the serv¬ ice to the public. A little common sense will show that it is not a “something for nothing” at¬ titude on the part of broadcasters. Tele¬ vision is willing to pay a fair price for contributed services during the present developing stage but if supporting costs are lifted so high that resources are threatened, the industry will face a critical situation that could easily be its Waterloo. Television producing companies take the stand that labor should be content to grow with the industry in the same way that broadcasters expect to develop it and the advertisers to use it. There must be fair play and generous treat¬ ment by all concerned if television is to become a national medium of enter¬ tainment with consequent opportunities for mass employment. 400 Cities with Television In testimony before the Federal Communications Commission I stated that I believed television stations could be supported in towns having popula¬ tions as low as 25,000. I submitted cost and operations statements to support my contention. I can now expand that statement. It is my belief that within ten years more than 400 cities in the United States will have television sta¬ tions, all operating at a profit. Unfortunately, sound broadcasters have been led to believe that the in- TWO-MAN STUDIOS such as th is basic type need but engineer and announeer tor operation. Heavy line shows area covered by far camera; dotted line is the portion of the stage picked up by camera in foreground. Once adjusted, the cameras require no attention. 49 TELECAMERAMEN soon will focus on all top sporting events. Here, WNBT's eyes and Red Barber report a Columbia-Lafayette football game to New York's television audiences. stallation and operation of television facilities entail a very considerable out¬ lay from the start. This is not so. Tel¬ evision programming can be started in a small way and expanded as receiving sets and commercial sponsors increase. How this can be done is suggested in the accompanying illustration. It will be seen that one operator, handling cameras and lights by remote control, would be sufficient for simple produc¬ tions. By restricting their movements to the areas outlined, the actors would always be within the focus of the cam¬ era. The latter, once adjusted, would then operate unattended throughout the performance, eliminating need for an operator at each camera. A studio arrangement such as the one shown here, supplemented by one or two 16-millimeter motion picture projectors, would comprise all essential equipment for a start. As program time is increased and additional studio space secured, the transition from these limited facilities to those that will be required eventually could be carried out in gradual and logical steps. Now what about the other advertising media — newspapers, magazines, car- cards, billboards, direct mail and so on? I predict that all of these media, in¬ cluding sound broadcasting, will be more prosperous than ever, even after television becomes a commonplace. It has been the history of advertising that no new form ever completely displaces the older ones. On the contrary, his¬ tory reveals that the resulting in¬ creased volume of advertising increases the distribution of goods and services so that the over-all national wealth is increased. Between 1927 and 1943, for example, newspaper circulation increased from 63,000,000 to 82,000,000 and magazine circulation mounted from 36,000,000 to 63,000,000. This was the period during which broadcasting was growing most rapidly. There is no fundamental rea¬ son why this experience should not be repeated even though television should prove to be the most powerful advertis¬ ing medium devised by man. I believe that there must be a new program format developed for televi¬ sion just as sound broadcasting had to devise its own program technique. Audiences around New York like the programs they see now, but we can and will improve the service. Cannot Copy Older Mediums Television programs cannot simply ape the older forms of entertainment if they are to fulfill their promise. Al¬ though the scope of program material available to television broadcasters will be fully as great as that now available to sound broadcasters, the technique of presentation must be different since the television broadcaster will be pre¬ senting pictures themselves — not just sounds which create mental pictures. The technique of the stage will not be suitable since television will use the world for its stage and the usual 50'x 100' space behind the footlights will be only a small fraction of its area of ac¬ tivities. Nor can it be the technique of the movies, because television will broadcast events as they happen. Fur¬ thermore, there can be no takes and re¬ takes which, after the final cutting, may lie in cans for months before they are released. No, television’s technique must be different from any entertain¬ ment technique yet developed and the genius who perfects it is probably still unaware of the part he is to play in its development. Recently, the British Broadcasting Corporation announced that its postwar television service expansion plans are based on the use of its 405-line stand¬ ards. This decision did not exclude the possibility of rapid development of a higher definition television system. It simply recognized that if the British public is to have immediate postwar television service it would have to start with 6 me. black-and-white pictures. That should be the program in the United States. We don’t know how long it will take to develop 20 me. television. We do know that we can plan television now on the 6 me. basis and every rule of common sense tells us that we should go ahead on that basis. In 1927, when broadcasters went to the White House to broadcast a speech by the then President Calvin Coolidge, a truck was needed to transport the equipment. Today one man with one suitcase can carry the necessary equip¬ ment into the Presidential Mansion for a presidential address. In 1927, we had cumbersome, unattractive and expen¬ sive radio receiver sets. In 1941, we could purchase better sets for $19.95. With all the ingenuity, originality and progressive thinking the collective brains of the broadcasting industry can bring to bear on television’s prob¬ lems as soon as television becomes an established service, it is inevitable that we shall see progress just as rapid and as revolutionary as we have witnessed in sound broadcasting. Television seems destined to bring regularly to all America the best in American culture. Later we may ex¬ change programs with the rest of the world. The social and economic effects of thus broadcasting information and entertainment will be considerable. So¬ cially, because television will enlarge mental horizons in all walks of life; economically, because it will increase the demand for goods and services so that national employment will be en¬ larged and national income increased. SPEEDY, compact mobile units will soon provide sight as well as sound coverage of emergen¬ cies and special events, flashing signals back to their stations by microwave transmission. 50 DISCUSSION PROGRAMS WILL BE BETTER Television audiences will be quick to judge the character of those who address them. By GEORGE V. DENNY, Jr - M oderator of “ A merica’ s Town Meeting of the Air President of Town Hall , Inc. T elevision, if properly used, can be the greatest single unifying influence devised by the scientists and engineers during this amazing twentieth century of miracles. We’re moving into an age where ideas are becoming increasingly impor¬ tant and visual images vastly increase the effectiveness of the spoken word in presenting ideas. The scientists and en¬ gineers have given us powerful new instruments which may be used to aid or enslave us, make us free or destroy us. But it is the men with ideas who will determine how these great new in¬ struments will be used. A short time ago we discussed the atomic bomb on “America’s Town Meet¬ ing” and I tried an unusual type of introduction to the program. But im¬ agine how much more effective it would have been if we had had television. This is what I said: “Good evening, neighbors. Look at your hand. No, I’m not joking, this is serious business. Are you looking at it? It’s the most powerful hand in all of human history. The cave man found that he could increase its power with the aid of a club. Later on he began to use spears and other pointed weap¬ ons. Then he found he could increase his power tremendously by throwing a stone in a sling shot. Remember how David killed Goliath? “It wasn’t until the fourteenth cen¬ tury that man learned how to hurl missiles at his enemies with the aid of gun powder. But he had to use his hands and a weapon in the process. As the human hand has become more pow¬ erful it has become more destructive. Let’s not forget that it was a human hand — the hand of Major Tom Ferebee of North Carolina — that dropped that first atomic bomb on Hiroshima and wiped out a city of a hundred and twenty-six thousand people at one blow. Yes, it’s the most powerful hand in all of human history. But the hand is the faithful servant of the brain that di¬ rects it. It was through the integrity of men of science, searching for truth, using their brains honestly, that we found out how to magnify the power of the human hand so tremendously. “Can we apply our minds with equal honesty in determining how to use this power? It will take the best and most courageous thinking on the part of each one of us if we are to prevent the gigantic power now in the human hand from being used to enslave or destroy us. ...” Think how much better this dramatic opening would have been if the audience could have watched me as I talked, or if it could have looked at charts ox- movies supplementing and pointing up my words. “America’s Town Meeting” was regu¬ larly televised from Town Hall in New York City for about two months in the fall of 1941 before the Office of Civilian Defense requested these facili¬ ties for war work. Reports from those who had receiving sets in the New York area wex-e highly enthusiastic. Last fall we put on a special television program from the General Electric studios in Schenectady under the watch¬ ful eye of many expei-ts who declaimed the program a “natural” for television — including Rex Stout’s famous beard! Fi’om our viewpoint, television will give us a much needed dimension in which to give background material on those subjects which we cannot pre¬ sent adequately at the present time. For instance, in our vai’ious discussions of the Pacific and Asiatic countries I’ve had to suggest to our listeners that they get out a map of the United States and lay it over cei-tain areas in order to make those distances familiar by com¬ paring them with distances in this coun¬ try. By television this could be done visually in an instant. Newsreel shots would be of great value to us in introducing current “Town Meeting” topics to the audience and could be used almost weekly to enhance great¬ ly the value of each of our discus¬ sions in curi-ent problems. Programs about strange people in other lands would be greatly enhanced if illustrated by shots from authentic travelogues. Again, we encoui-age the speakers to use picture woi’ds and phrases in their talks on “America’s Town Meeting.” If we had television we’d want them to illustrate their speeches with interest¬ ing pictorial charts and Disney-grams. About half of our “Town Meetings” originate in different parts of the coun¬ try with local audiences consisting of fi-om two to five thousand people, as a rule, although in the San Francisco PEOPLE like to participate. An "America's Town Meeting of the Air" in San Francisco. Civic Auditorium we packed in twelve thousand. These audiences constitute an exti’emely interesting and vital part of every program. With television the character of each questioner would be as readily visible in your own living room as the pei-sonality of the principal speakers. Television will challenge the best pi’o- ductive brains we have in the counti-y. If it is used only to put on cheap vaude¬ ville, like art and conventional variety shows, it will miss the boat. But if tele¬ vision producers will take advantage of this great new dimension by creating programs especially adapted to the na¬ ture of the medium, and the environ¬ ment in which it is received, then the possibilities are limitless. 51 A PROGRESS Television Receivers RCA DIRECT-VIEWING TELEVISION The first RCA Victor television receivers will probaby be of the direct- viewing type. Here a Kinescope Tube (A) is mounted horizontally in the cabinet. The picture appears at front end of tube (B) and is viewed through a frame in the cabinet. Pictures of this size can be seen comfortably by an average family group in a typical living room. Brilliance of picture permits normal room illu¬ mination at all times. RCA LARGE-SCREEN TELEVISION Probably the next type available and at a higher price than direct- viewing instruments. RCA Large- screen Television became a post¬ war reality when RCA scientists, placing a small projection Kine¬ scope Tube in a vertical position, combined it with a system of lenses and mirrors used in astron¬ omy. With this system brilliant, clear pictures larger than a standard newspaper page are possible. A. Kinescope Receiving Tube. B. Spherical Mirror. C. Aspherical Correcting Lenses. D. Inclined Mirror. E. Translucent screen (pic¬ ture viewed from front . . . pro¬ jected from rear). F. Loudspeaker for reproducing television sound. RCA TABLE MODEL RECEIVERS The great popularity of table model radios leads many to predict a great future for a compact television re¬ ceiver of this type. These receivers will use the direct-viewing principle described in the diagram at the top of the page. Because of their small size, relatively low cost and small but sharply detailed pictures, these re¬ ceivers are likely to be the choice of many families, not only for use in living rooms but as an "extra” set in a bedroom or den, for example. 52 REPORT BY RCA RCA Victor Television Receivers will be available in a range of sizes and prices to suit all family requirements. First models, incorporating many new improvements, expected in 1946 RCA Victor has in store for you new, improved television receivers providing the bright, clear pictures that you have long been waiting for. These receivers, far superior to any previously produced, will be in the market in 1946. They will be announced as soon as RCA Victor dealers receive them. Various sizes of pictures and cabinets will be available, priced according to the elaborateness of equipment. Cabinets will be beautifully styled — de¬ signed to take their place with the finest furniture. How important is picture size? Studies by RCA Victor engineers of ideal viewing distances reveal an interesting fact about picture size. Although many people who are unfamiliar with television feel that the larger the picture the more comfortable the viewing will be, scientific deter¬ minations and practical tests show that the only important thing is that picture size be always adequate for the distance at which it will be viewed. Direct-viewing Receivers lower in cost For example, when you are seated a few feet from the receiver as in a normal family living room, a 6 x 8-inch picture has the same high visibility as a much larger picture viewed at a greater distance. This means that the size pictures provided by RCA Victor direct-viewing receivers will probably be pre¬ ferred by many families. Direct- viewing receiver cabinets can be smaller, and less equipment is required than in receivers achieving large picture size through optical enlargement. Therefore, direct- viewing receivers will be appreciably lower in cost. RCA Victor large-screen television will meet the requirements of purchasers who entertain large groups of friends and whose living rooms can accommodate larger cabinets. This receiver employs a translucent screen on which the picture is projected through an optical enlarging system within the set. No external screens, such as those used for home movies, are required. RCA Victor large-screen television, al¬ ready proved in the laboratory, can provide pictures of bright, life-like quality measuring up to 18 x 24 inches . . . larger than a full-size newspaper page. The Heart of Electronic Television RCA Victor receivers described here are but a few of the milestones in television which bear the mark of RCA research and development. Among others are the two basic electronic tubes, developed by RCA engineers which made electronic television possible. These are the Iconoscope, or the "electric eye" of the television camera which picks up the scene, and the Kinescope, or screen tube on which the picture appears in the receiver. More than any other organization, RCA Victor has the experience and knowledge to bring you the most advanced television. Every type of RCA Victor television receiver will reflect the exhaustive research and development of the pioneer which extends back many years before the war. When television comes your way, you’ll enjoy it to the fullest on a receiver bearing the mark of the leader — RCA Victor. rca Victor RADIO CORPORATION OF AMERICA • RCA VICTOR DIVISION • CAMDEN, N. J. In Canada: RCA VICTOR COMPANY LIMITED, Montreal 53 A LIVE TALENT STUDIO, as this musical production at WRGB indicates, requires men to handle cameras, sound, lights, scenery and properties. TELEVISION JOBS FOR VETERANS 300,000 openings expected. These pictures from Army-Navy Screen Magazine show what they’ll be and where to find ’em. D avid Sarnoff, RCA president, foresees 300,000 well¬ paying jobs in television within five years after things really start rolling. Television is made to order for G.I.’s with radio and radar experience, but while a lot of jobs in it will call for technical training, plenty of others won’t. So, run your eye over this page and the next to find the job that you’re best fitted for in this rapidly expanding industry. SPORTS will play a big part in tele-programming. Crews will travel with mobile units carrying cameras, sound equipment and lights. TELE-NEWSCASTS will be picked up live and on film. This WCBW newscast requires writers and researchers as well as studio crew men. 54 MANUFACTURING: Making sets should employ 60,000 assemblers, machinists and SERVICE: 85,000 maintenance men should be needed electronic technicians. Virtually all radio manufacturers have television plans. to install and service the new video-audio receivers. MASTER CONTROL: Technicians watch, hear and regulate the quality of pictures and sound before they go out on the air. SALESMEN WANTED: The television industry should put 135,000 salesmen to work for dealers and distributors within the next five years. 55 TELEVISION OUT WEST Tele-conscious California with its reservoir of film tal¬ ent will make a strong bid for tele-programming and may well attain tele-programming leadership. d. By KLAUS LANDSBERG Director, Station W6XYZ, Television Productions, Inc. Go west — !! That was the decision of the movie makers not so very long ago. Today, Hollywood represents the mightiest center of entertainment man¬ ufacture in the world. Is Hollywood going to be the Tele¬ vision Center, at least of America, if not the world? “YES!” says Hollywood. “NO!’ says New York. And Chicago claims the tele-hub for itself, being strategically located in the middle. It’s easy to argue for Hollywood, pointing to radio, which, in the last few years, decidedly moved West, and shows no tendency to stop this move! “But,” counters New York, “look at the theatre. It still gleams brightly on Broadway, while only flickering faintly qn the West Coast.” And now the battle really starts. With Hollywood claiming its stars as the greatest attraction to Broadway theatre-goers, and New York asking the embarrassing question, “And where do your talent scouts make their dis¬ coveries, and your producers find their stories, but on the New York stage?” Okay, boys, break it up! There’s no sense in fighting, because in the end, you will only discover that economical considerations decide all. And as long as the entertainment medium that pays most sits in Hollywood, the wealth of talent, too, will be found there! Not just actors, but producers, directors, writers, artists and technicians. And if you ask, “How can television afford such high-priced talent?” then think that for every Hollywood discov¬ ery, there are ten — and that’s a con¬ servative figure — who are waiting to be discovered. Don’t forget, either, that most movie stars can’t afford to snub a radio appearance because of that “little” reimbursement. And how much more will a television appearance mean to them! By this time, the reader no doubt will shake his head and exclaim, “Oh, please, let television be a culture bearer — don’t let it go Hollywood.” But no longer must Hollywood hide from this attack — it can point proudly to the war work it has done as a morale builder and as an educator. Who else can claim the development of visual education as his own? The movie capital is well aware of the great role it is destined to play in the television game, but it is equally aware of the difference between a the¬ ater and a home audience. And while it knows that many Hollywood happen¬ ings will attract the tele-viewer, most of the news and sports events which claim nationwide interest take place in the East. And no doubt the West Coast looks to the East for an immediate visual report of such events. All this, of course, is based on the early establishment of transcontinental television networks. Yet while we wait for this, at least a little while, the product of the movie makers will span the country without waves. While only five years ago the West Coast shrugged its shoulders when tele¬ vision was mentioned, it is today just as eagerly awaiting the arrival of tele¬ vision receivers as any other part of the country. The rush for television station licenses is equally great. No major city on the West Coast will be without this service soon. Much barren country and large dis¬ tances divide the western cities but nature has provided high mountain tops to bridge these gaps. A single station on Mt. Wilson can provide television service for well over one-half of Cali¬ fornia’s seven million inhabitants. A station in San Francisco can easily cover Oakland, Berkeley, and even Sac¬ ramento, the state capital. This condi¬ tion, in itself, guarantees rapid develop¬ ment of West Coast television, and provides ample proving ground for the productions with which Hollywood hopes to capture audiences everywhere — upon completion of the Ether-Bridge. Yes, the West Coast is television¬ conscious; it won’t be caught in a siesta. The same young and progressive spirit that overnight made the West an industrial powerhouse, and the art and skill that reproduces Niagara Falls on the desert, will blaze the trail for new enjoyment through television. Look West! ! SHOOTING THE STARS: The W6XYZ field unit interviews a few Paramount celebrities. 56 TELEVISED NEWS FOR THEATER-GOERS Newsreel Theater owners are ready and waiting for the advent of theater television. They plan to pro¬ ject televised news events to swell box-office receipts. By ALFRED B. BURGER President, Telenews Theaters T elevision is here — and we of the newsreel theaters look to this new ex¬ panding industry to amplify the ex¬ tensive news coverage and recreational and entertainment features which we are presenting today to people through¬ out the country. We salute this new industry — this new medium of high speed news and entertainment distribu¬ tion — knowing full well the valuable service we can render it. More than a decade ago, when our plans for a nationwide chain of news¬ reel theaters were formulated, we cast about for a suitable name for this com¬ paratively new type of motion picture house. Television was then being mod¬ erately talked about and we foresaw the eventual adaptation of this new form of visual production to the speedy dissemination of news on the theater screen. Hence, the name “telenews”! Extra Added Attraction! In the planning and construction of our Telenews Theaters throughout the country we have incorporated radio stu¬ dios and television lounges — separate and apart from our main auditoriums. In most of these theaters we have in¬ stalled fully equipped broadcasting stu¬ dios, each with a seating capacity of approximately 150 persons. At the pres¬ ent time these studios are used only for regular radio broadcasts in co-operation with local radio stations. As television becomes available in the various cities in which Telenews operates, we shall immediately install the necessary re¬ ceiving sets to enable our patrons to watch and hear this new medium, in addition to the regular screen programs which we shall continue in our main auditoriums. The primary purpose of the news¬ reel theater is the dissemination of news and information by film, radio and wire services. Our theaters are far better equipped to handle television than conventional theaters of today. The radio broadcasting facilities in our theater lounges can be turned to tele¬ vision use. From our observation it appears that the home or school-size television screens will have to be used until television achieves the excellent visual quality of motion pictures pro¬ jected on large theater screens. The newsreel theaters have the only genuinely elastic program which can be complemented by telecast events — when this new medium is available for the full auditorium screen. The present newsreel program can be interrupted at any point without breaking the con¬ tinuity and chain of thought. We look forward to the time, not far distant now, when television will alford us the opportunity to project on our screen the word “teleflash” — the equivalent of the radio industry’s in¬ terruption of a major program for im¬ portant news announcements, and of the newspapers’ “stop the press” for an important insertion of headline news. In other words, spot news fits not only well but completely and em¬ phatically into the continuity of our type of program. One of the most hopeful signs of what television will do for the news¬ reel theaters has already been demon¬ strated by radio. This point is stressed because there has already arisen, from every quarter, the question: “Will tele¬ vision hurt rather than help us?” At the outset of radio, film men thought that the then new medium would hurt motion picture attendance. But radio successfully proved it actually could be used to speed the popularity of the motion picture! During major broadcasts, the con¬ ventional theater found that important events such as the President’s speeches, really hurt their box-office! However, this falling off has not occurred in a single Telenews Theater, for our pa¬ trons know that they have the oppor¬ tunity to listen to all momentous broad¬ casts as well as enjoy our regular pro¬ grams. Our attendance increases dur¬ ing major broadcasts. People actually jam our radio lounges to hear these broadcasts ! Audiences Want Hot News When the radio networks carry news of some major crisis we interrupt regular screen programs to carry the broadcast into our auditoriums. Audi¬ ences are completely receptive and thoroughly enjoy this additional serv¬ ice. We know, from this experience with radio broadcasts, that television news reporting will not only prove gen¬ erally agreeable, but overwhelmingly popular. When the day of full-screen television arrives, we know that we shall have something our newsreel patrons will like and something they will be most eager to see. A MIXED BLESSING? Like every other technical advance in the field of communication from the invention of the printing press, television seems likely to bring a mixture of good and bad results. It is likely to put its worst foot foremost because of the dominance of conservative financial interests. That was the case in movies, pho¬ nograph, and radio, and I see no reason to anticipate anything very different. But I’d rather have it By QUINCY HOWE CBS News Commentator begin that way than state-con- trolled because at least it will fol¬ low the trial and error method, with some freedom to experiment. I believe that networks and sta¬ tions should broadcast news inter¬ pretation and analysis on a sus¬ taining basis only, at convenient times, and with a wide divergence of opinion. I believe this practise should be followed in television, too, but I have no expectation that it will. OF ELECTRONIC TELEVISION WHAT IS TELEVISION WORK HOW \?Av- FUTURE IS TELEV WHAT Scores of questions like the above will be answered for you when you read “The Story of Electronic Tele¬ vision.” Here, in a colorfully illustrated, easy-to-read booklet is the complete, concise explanation of the miracle of modern television. Heretofore, this fascinating booklet was available only to those directly connected with the television industry. Now it can be offered to all interested persons. It sets forth in plain, non-technical language the entire story of television, how it began back in the minds of the ancients, how present-day science has made it a reality. In this booklet you will find how electronic television works, how it has been developed since the early days when Philo T. Farnsworth first set forth the basic idea as a fifteen-year-old high school student. And in this booklet you will find a key to the potentialities of tele¬ vision as it will affect our daily living, how it will con¬ tribute to the fields of entertainment, industry and education. “The Story of Electronic Television” has been called the most complete, understandable explanation of this important new endeavor yet written. For your free copy, write the Farnsworth Television & Radio Corporation, Fort Wayne 1, Indiana. FARNSWORTH Farnsworth Television & Radio Corporation, Ft. Wayne 1, Indiana. Farnsworth Radio and Television Receivers and Transmitters; Aircraft Radio Equipment; Farnsworth Television Tubes; the Farnsworth Phonograph-Radio; the Capehart, the Capehart-Panamuse. 58 TOP-FLIGHT SHOWS ARE NOT ACCIDENTS Inspiration and perspiration, as you might suspect, are the most important ingredients of top-flight television programs By EDWARD SOBOL NBC Television Producer A television course — “Radio V.35, Television Production Problems” — was conducted by Columbia University in co¬ operation with the National Broadcast¬ ing Company during its 1944-45 session. It was decided to wind up this course of fifteen lectures with a talk by Dr. James R. Angell, Public Service Coun¬ selor at NBC, to be followed by a 20- minute dramatic studio production. It was further decided that the studio production should be based on an im¬ portant play. “Men in White” was a natural selection. It had brought to the theatre one of its most important young writers, Sidney Kingsley. It was one of the Group Theatre’s most outstanding productions. And last but not least it received the Pulitzer Prize. Getting the television rights to an important Broadway play is not as easy as it may seem. A great many rights are tied in with motion pictures, and the picture companies are not too willing to release these to television. I want to express here my sincerest thanks to Sidney Kingsley for his im¬ mediate consent and his willingness to help develop the new medium. For it is only with the full cooperation of good authors and playwrights, and the de¬ velopment of new authors, that tele¬ vision can ever hope to make the strides necessary for its success. “Men in White” also lent itself to “cutting” to the required running time. Cutting scripts to television time re¬ quirements is generally a producer’s headache. Most plays, as presented on Broadway, have been pruned of all ex¬ traneous and draggy material and run about two hours. The problem generally is to cut and yet not lose the story. Fortunately, “Men in White” is a multi¬ scene play touching on many phases of medicine. I chose the story of the dedi¬ cation of a young man to the science of healing at the sacrifice of his social and personal interests, and the incident showing a young resident physician ready to oppose a so-called “Park Ave¬ nue” fashionable medic even to the point of being brought up on charges, rather than endanger the life of a patient. Both these incidents dovetailed nicely and a good half-hour play resulted. Having the play, the next step of course was the casting. I find that act¬ ors from the legitimate theatre are preferable for television. They have learned how to memorize quickly; they know how to sustain and develop moods and characterizations; they know how to move about a set naturally and, above all, they know how to stand still. They also know how to play with and to a fellow actor and how to react to the other’s speeches. This is important in television where the close-up and medium close-up must be used so often. Having selected the cast, the next problems were sets and costumes. The scene is laid in a hospital and there is one color (if it is a color) that is typ¬ ically “hospital” — white. White walls, white beds, white uniforms, white sheets and pillow cases, white bed pans and white faces. And the doctors and vis¬ itors in hospitals generally wear dark " . . . and now, ladies, a five-minute pause so you can get in another lick at your housework." (Esquire, December, 1945) © 1945, by Esquire, Ine., 919 N Michigan Ave., Chicago, Ill. subdued clothes. So there is your ever present white and black problem in television. This was solved, however. Studio facilities managed somehow to get a gray hospital bed and gray fur¬ niture to match. All internes’ and nurses’ uniforms, together with sheets and pil¬ low cases were dyed blue. Luckily we did not need the bed pan. We rehearsed off camera for five days, an average of four hours a day; then had about nine hours of camera rehearsal. This might seem like a lot of time to put into a half-hour production, but the result proved it worth while. The three prime requisites for a good television production are: 1 — A good script, 2 — A good cast, and 3 — Sufficient rehearsal time. I have heard a great many arguments in favor of short camera rehearsals but have never seen a really good television show resulting from such short rehears¬ als. In fact, the alibi has generally been: “But considering I only had a blank number of hours on camera, it was pretty good, don’t you think so?” No, I don’t think so. Heaven knows that even with sufficient camera rehearsals, television shows are far from perfect. A television production at NBC in¬ volves the following personnel. Five men in the control room, including a man on turntables, three camera oper¬ ators, three stage hands, two light op¬ erators, one “mike” boom operator, one sound man, one stage manager, one sce¬ nic designer, and one studio supervisor. That makes a total of 18 in direct touch with the television production. Add to this the actors involved and you have a good-sized “team” to be coor¬ dinated so that each one knows just what he must do and when he must do it. Any one of the 18 (let alone one of the actors) can do something to “throw” the show. To eliminate this danger, one solution is self-evident. Sufficient stu¬ dio rehearsal time! It was the intensive camera rehearsal period, with every¬ body working as a team, which made a good television production possible. That “Men in White” was accorded the Award as the “Best show of the year” by the American Television So¬ ciety made everyone who was part of it feel that all the work which went into the production was worth while. 59 V isual continuity is the stock in trade of television. Pictures are its “reason for being,” and on the production of good pictures, woven together in smooth continuity, its very existence depends. Curiously enough, because television is a new medium, there seem to be many who consider it quite unnecessary to take advantage of the wealth of pictor¬ ial knowledge and the time-tested fun¬ damentals that have evolved through centuries of picture making. There are those who would blunder ahead — delay¬ ing the advancement of television by so doing — completely disregarding the val¬ uable knowledge that has been gained at great cost during fifty years of mo¬ tion picture continuity production. There is more to making good tele¬ vision pictures than appears on the surface. They don’t just happen, and there is nothing suddenly new about them. They are not made by any one who happens to come along. A God- given gift, a high sense of selectivity, a lot of “know how,” and a flair for showmanship are essential. Good Composition Builds Interest Good pictures are compounded out of the principles of art and the laws of what we call composition. Without composition there is no picture, for it is the thing that makes the picture good, bad, or indifferent. Pictorial items thrown together without the application of these principles may have statistical value, but they certainly have no pic¬ torial significance. The piano keyboard, for instance, is able to produce many different musical notes. If they are struck at random there is no music, but if played by someone who knows how to put them together, customers stand in line at the box office. Unfortunately, for those who like short cuts and the easy road to success, there are practically no rules for com¬ posing pictures. The few that can be laid down “hard and fast” are negative rather than positive. They are “don’ts.” But there are guiding principles and basic factors which may be learned and Condensed from Hoyland BeHinger's forthcoming book, "Television Program¬ ming" (Harpers & Bros., 1946). FUNDAMENTALS OF VISUAL CONTINUITY Programming quality demands preplanning. Here are the basic forms employed in Hollywood story-board planning, illustrated with drawings by the author. _By HOYLAND BETTINGER Former Program Manager, Station WRGB used as working tools in the creation of good visual continuity. A design is an arrangement of shapes. A picture is a design plus a story or mood. A great picture has, in addition, a spark of the artist’s personality. Shapes are made up of line, mass and form. Our emotional reaction to shapes is very pronounced. We react quite dif¬ ferently to a huge bulky shape than we do, let us say, to a petite blond. It is because of the known and predictable reaction to shapes that the artist and photographer are able to compose pic¬ tures that attract an audience. Shapes Create Moods The arranging of shapes into pictures that will convey a story or mood re¬ quires an understanding of the psycho¬ logical factors which control our re¬ sponse to pictorial effects. These factors can be traced directly to our reactions to things commonly experienced in life. To make this clear: when in a prone, relaxed position, we rest or go to sleep; hence, the picture in which horizontal, quiet lines predominate, gives us a feel¬ ing of restfulness and repose; whereas, the picture built on strong diagonals gives us something of the same reaction we get from watching violent action. From this it will be clear that the basic structure of the picture — the ab¬ stract form around which it is built — governs our emotional response to it. These basic forms or structures can be listed, described, and memorized. They can be utilized to create and control audience reaction. Before considering them in detail, however, we should become familiar with the significance of line, mass and form. Significance of Line Line, as it is thought of in a picture, is formed by the edge of a mass or an area. It may be a line that is actually seen, or a line that is suggested by a repetition of spots. These are called transitional lines — a means of getting from one place to another. Our mental reactions establish lines where none act¬ ually exist. We “feel” a line running from head to head in a scene involving a number of people, provided they are arranged in some geometrical pattern, such as a triangle. Line may also be felt by direction of movement. We think of lines as being straight or curved or broken, and as being horizon¬ tal, vertical or diagonal. Each has its psychological meaning. The Psychology of Line Straight lines give a feeling of direct¬ ness, rigidity, masculinity and the like. They should be used where those feel¬ ings dominate a scene. Curved lines express charm, grace and femininity. The curved line is the line of beauty and graceful movement. Broken lines express informality, inde¬ cision, disorder, and similar states. ( Continued on page 62) 60 Hallicrafters and Television HALLICRAFTERS NEW $600,000 HOME NOW UNDER CONSTRUCTION. In the continued development of television, keep an eye on Hallicrafters. Hallicrafters claim to recognition in this im¬ portant field is based on successful explorations in the very high frequency brackets of the radio spectrum. For instance, Hallicrafters Model S-37, a VHF receiver operating from 130 to 210 Me., offers the highest frequency range of any general coverage commercial type receiver. The Model S-3 6 A, FM-AM-CW receiver operates from 27.8 to 143 Me., covers both old and new FM bands and is the only commercially built receiver covering this range. Instruments like this will continue to lead in the development of new and improved television applications. Hallicrafters tele¬ vision equipment will represent the same kind of advanced engineering techniques. RADIO THE HALLICRAFTERS CO., MANUFACTURERS OF RADIO AND ELECTRONIC EQUIPMENT • CHICAGO 16, U. S. A. COPYRIGHT 1945 THE HALLICRAFTERS CO. 61 Horizontal lines express repose, tran¬ quility, stability, and are monotonous, if used to excess. Vertical lines are expressive of import¬ ance, uplift, aspiration, and spirituality. They possess more attraction power than horizontals. Diagonal lines are the lines of force, action, aggressiveness, and change of movement. They are the most dramatic¬ ally exciting lines, because of their power to attract and hold attention. The scenic artist uses the psychology of line in set design. He does so because it is necessary to fit the linear design to the mood. If the content of the scene is light and informal, he will use broken horizontals, perhaps in combination with curved lines. If the feeling is formal and dignified, the linear structure of the setting must be formal. He will not design his sets merely to look well as sets, but to contribute to the effect which the producer wishes to achieve. The cameraman uses line as the struc¬ ture of his shots. He grabs on to a near horizontal for the lower part of the composition, if a feeling of stability is desired. He watches out for the dis¬ tracting vertical that divides his pic¬ ture centrally into two pictures. He looks for transitional lines that will hold the picture together. The producer uses line psychology in the placement and movement of his characters, in the disposition of proper¬ ties, and in the lighting effects he re¬ quests. Since line is produced on the televi¬ sion screen by contrasts of light and dark along the edge of masses, it will be seen that linear structure can be regulated in two ways: by the degree of contrast in the objects themselves, that is to say, putting a light object against a darker one, or vice versa ; and by lighting the edges of objects so that they separate from what is behind them. We must continually think of the inten¬ sity of the line, because the same linear structure can produce two different psy¬ chological effects; brightness, gayety, excitement are expressed, if the shapes are “edgy” and the lines are strongly felt; calmness, solemnity, peace, if the lines are soft and diffused. Mass or Psychological Weight Mass in the dictionary sense is a quantity of matter. Pictorially, mass is used to denote the psychological weight of an area, an object or a group of objects. We intentionally or instinctively group individual shapes into masses, be¬ cause the arrangement produces an emo¬ tional response. We are moved by the wide expanse of the sea, by the precipi¬ tous drop of the cliff, by the majesty of the mountain. We speak of cathedral pines, for we associate the regular massing of tall verticals with things spiritual. Our emotional response to mass is quite definite, as a few examples will prove. The virile, dominating husband playing against the weakly submissive, frightened wife, could not seriously be cast with a puny, dried-up specimen of a man against a big, raw-boned Gas- house Gertie hunk of a woman. It wouldn’t feel right. Conversely, its very absurdity could be turned to advantage in a comedy. A graceful, informal massing of liv¬ ing room properties induces nostalgic feelings of ordered domesticity — but bring a jumbled group of characters into the room and disorder prevails. The character of the masses, their re¬ lationship, one to the other, and their distribution, together with the linear structure of the television picture, play a vital part in establishing the mood. These factors are present in every pic¬ ture; therefore they should be carefully analyzed and used in a way that will create harmony between content and treatment. If not, they may induce con¬ tradictory emotions. Form or Aesthetic Shape Form, in the sense we are using it here, is the aesthetic shape of the areas and masses which make up the picture. Whereas we think of mass as being light or heavy, slight or bulky, we think of form in a more specific way, for we instinctively associate form either with our knowledge of things, or our emotional response to them. For in¬ stance, we speak of Venus as “the form divine.” We speak of a “tubby” man, a “towering” giant; we associate the square with honesty, the circle with continuity, the scales with justice. Form calls to mind conscious associations and subconscious reactions. For this reason, it is imperative that the pictorial forms used be compatible with the intent of the scene. Select the Right Basic Form We use form in two ways; first, in the individual picture units; second, in the structure or basic form of the pic¬ ture as a whole. A picture affects us in two ways: Our minds take in its con¬ tent; our emotions respond to its mood. The one is concrete and obvious. The other is abstract and not apparent to the uninitiated. But the abstract form of the picture is what makes it what it is, and the selection of the right basic form is the first step in composition. It is the abstract structure — the framework — on which the picture elements can be arranged. It will help in grasping the signifi¬ cance of these basic forms, if the mind is kept closed to recognizable shapes, and they are looked at in the abstract, as line, mass and form. The Square is used to express equality of interest or formality. The Right Angle is used to express opposition of interest or informality. 62 The Triangle is used to express unity of interest, stability, or climax. The Circle is used to express continuity of interest, or continuous movement. The S Curve is used to express variety of interest, grace or beauty of movement. The Z Shape is used to express excite¬ ment of interest or extreme change. The Cross is used to express merging of interest, or cohesion. The Radii is used to express concentra¬ tion of interest or intensity of focus. All of the foregoing forms may be used, of course, in the special depth of the picture, as well as in the two- dimensional vertical plane. How to Use the Basic Forms The first consideration in planning a television program is how to present it visually. The solution of this problem will be found in the answer to the fol¬ lowing questions: (1) What is the basic character of the program as a whole — formal or informal, light or serious, factual or imaginative, charming, bi¬ zarre, gay or macabre? This will deter¬ mine the over-all feeling which the pic¬ torial continuity should have. (2) What is the mood pattern of each scene and what specific effects are desired? (3) What basic forms of composition will produce those specific moods and effects? (4) In each situation, throughout the program, what treatment of line, mass and form will best suit the content? Just as the actor must think of the appropriate gesture, so must the writer, producer, set designer, cameraman, lighting and technical director think of the appropriate picture. This means thinking of the picture in its abstract form. The procedure should be to start with the abstract and work through to the concrete. It will be somewhat difficult for the novice to think in abstract terms at first, but once he has caught on and acquired that habit, it will become al¬ most instinctive. Then he will be pre¬ pared for catching good visuals “on the fly” in the heat of production, where there are no retakes and excuses don’t count. That is what television demands. Why Is Visual Planning Necessary? Television program production is a complex process, and an expensive one. In camera rehearsal, a lot of equipment and many payroll members are tied up, as well as high-priced talent. Minutes count, and yet enough time must be spent on rehearsal to insure good pro¬ duction. There are only two answers: 1 — preplanning , and 2 — more preplan¬ ning. Visual planning involves picturization, either in the mind or on paper. As time goes on and as visual-mindedness develops, much of the picturization can be planned mentally. But to develop that ability and to insure top ratings even with the ability, the method proposed herein will be found helpful. If is a simplified form of the story-board meth¬ od used extensively in Hollywood, par¬ ticularly in the Walt Disney studios. Its application to television is even more necessary than in motion pictures, for the reason that there can be no retakes when the television show goes on the air; it is good or bad in direct propor¬ tion to the way it has been planned. In some television station set-ups it is not inconceivable that the management will find that it pays to have one or more artists whose main function is to prepare these skeleton story-board treatments, for in this way the program manager can see and evaluate how the production will look — even before it has been started. A Method of Visual Planning Even if a skilled artist is not avail¬ able for making story-board sketches, this should be no deterrent to the pro¬ ducer; he should get his picturization down on paper. Even though he “can’t draw a straight line,” if he can think straight, he will be able to draw “straight” enough for the purpose. It is not to be implied that it is necessary to make sketches of each camera shot, or even of many of them; but there is no denying the fact that a few simple line sketches (no matter how crude) of the key scenes are of inestimable value. They may look like hen tracks to any¬ one else, but they will help the producer to crystallize his own thinking. It will save time in the end and make for bet¬ ter productions. The basic procedure is as follows: 1 — Analyze the emotional content of the key situations. 2 — Select the basic compositional form or combination of forms that will best portray the emotional content involved. 3 — Apply the psychology of line, mass and form to the arrangement of the set, the casting of the talent, their placement and movement. Any one who is visual-minded can use this method of visual planning, and un¬ less one is visual-minded, he has no place in television program production. Let us see how the method might be applied to a dramatic episode. Our problem is a scene of domestic, middle-class family life. At the opening, a mother and three children are en¬ gaged in quiet conversation. An air of peace is established. Suddenly, the drunken father enters and conflict en¬ sues between him and an older son as the father threatens the youngest child. She, a little girl of ten, runs terror- stricken out of the room and the house. Soon, from offstage, the screech of brakes is heard. We cut, by means of film, to the scene of the accident, with its excitement, and then back to the room as the child is brought in and laid on the sofa. The child dies, in the best soap-opera tradition, with forgiveness on her lips and the ghost of a heart¬ rending smile. Our first consideration is the set. Since the feeling at the opening is one of friendly informality, we can use broken horizontals, quiet verticals and graceful curving shapes in informal bal¬ ance. We shall select a combination of basic forms: the right angle for its in¬ formality, softened by S curves for quiet charm. Any one of a number of opening shots 63 comes to mind, but since the climax is to be the death of the little girl, suppose we open with a close-up of her, stretched out on the floor, reading from a story book. We shall then dolly back to reveal the first key picture — the establishing shot of the family group. We maintain diffused focus of atten¬ tion until a line from the mother mo¬ tivates movement toward her, ending in this triangular form, used for its stabil¬ ity and unity of interest. This is followed by a sequence of three-shots, in which the focus is passed from character to character at a leisure¬ ly pace. We then see them pull more compactly together in a circular form, thus heightening the feeling of close re¬ lationship, and setting the stage for the contrasting mood created by the drunk¬ en father’s entrance. On his entrance the circle breaks dramatically to this right angle form. Note that the mother and children are grouped in a mass that counts as a vertical. The direction of their attention forms the line of opposition as it leads directly to the father at the door. The conflict between the father and son is a brief, rapid sequence, built on dynamic diagonal lines. After the exit of the terrified child, there should be a brief period at lower pace and pitch. To achieve this, we make use of the rigidity of the square form of composition. The screech of brakes is heard. We catch the reactions of the mother and the two sons. We build an¬ other key picture on the right angle form, in which the three figures stand¬ ing momentarily rigid are in dramatic contrast with the father who has slumped down at stage right. At the scene of the accident, we shall use strong lines and dramatic contrasts of mass to point up the helplessness of the fragile child against brutal forces. Back in the living room, after the child has been brought in, the solemnity and suspense of the scene are achieved by developing tense diagonals in con¬ trast with the horizontal of her prone position. Through a shift to the cross form [See picture, top right], the inter¬ est is merged in the possibility that the injuries may prove fatal. By a shift to the radial structure, the interest is still further concentrated on the child. We have built to our cli¬ max and doubtless will not be able to resist dollying in for a close-up to catch that faint smile as the eyelids close. A concluding shot suggests itself: a close-up of the little girl’s open story book, with her doll near it, just as she left it in the opening scene. Having thus worked out the visual treatment of the key scenes in a tele¬ vision production, having nailed them down on paper, it is possible for the producer to plan supporting scenes and transitions. By this method he can di¬ rect the movements of the players so as to culminate in strong pictorial compo¬ sitions for all important scenes; confu¬ sion and meaningless pictures will be avoided; strong continuity will be achieved. The method is applicable not alone to dramatic productions, but to all types of programs, for they all depend on good visual continuity for their effect. We have previously pointed out that, even though television is a new medium, there is nothing new in the fundamental principles on which its visual manifes¬ tations must rest. Let us see how they may be applied in building television continuity. 1 — Unity A picture, like a sentence, must have unity. It should tell only one story. There should be nothing in it that is not needed or does not contribute to the over-all effect, either in thought con- 64 tent or in line, mass or form. Any irrelevant elements will raise doubts in the mind of the viewer as to what is intended. 2 — Variety More than anything else it is variety that holds the attention of the audience. It must be kept under control, however, or the state of unity will be disrupted. Not only is it essential in individual shots, but variety of type, mood, pace and proportion is essential in building continuity. In the linear structure of the picture there must be variety in the kind of line, the direction, the spacing, and the accent. The picket fence lacks variety and keeps people out, so does the linear structure that is not varied. The same holds true for mass and form. The checkerboard is monotonous. Variety, however, is not used for its own sake; it is used for aesthetic reasons dictated by our subconscious reaction to rhythm and to space and measure. In composing a picture, the beginner will tend to look at the objects of which it consists, whereas it is the spaces between them, and/or the shapes of those areas between that make the picture what it is. This is particularly true in television because most of the pictures consist of medium close-ups of people. Over and over again these same shapes are used. Only by constantly varying spaces and measures can this amount of repetition be tolerated. 3 — Harmony Harmony involves both unity and va¬ riety, for it implies the putting together of unlike but related things. It is an important element in holding the pic¬ ture together. 4 — Balance Balance is so intimately tied into our physical state that we are subconscious¬ ly aware of any condition of unbalance. Through the functioning of the internal ear, a state of balance is maintained that enables us to stand or move about without toppling over. We subconscious¬ ly demand a state of balance in pictures. To understand how this may be achieved, it must be realized that a pic¬ ture is made up of separate units, each of which has weight, in the sense of pulling power or attraction to the eye. These units consist of line, mass, color, and direction or speed of movement. All of these elements must be kept not nec¬ essarily in complete balance but close to it, except in those instances where, by departing from balance intentionally, a specific effect is achieved. Keeping in mind that each unit of a picture has weight due to its attraction, it will be seen that balance is achieved through the control of the relative attraction of lines, masses, colors, or movement. At¬ traction may be controlled by placement, contrast, emphasis, repetition, and in the case of movement, by direction and speed. By way of further amplification, the following statements can be made. They should be memorized and fully comprehended. a — Vertical lines have more effect on balance than horizontals. b — Diagonal lines have more attrac¬ tion than either vertical or horizontal. c — A vertical line cutting through the center of the picture makes it impos¬ sible to achieve anything but formal balance, and is bad, because it cuts the picture in two. d — A large mass may be balanced by a small one by placing it in an empty area. This is the principle of the lever or the seesaw. e — A unit in an empty area near the edge has more attraction than in the center. f — A unit in the foreground has less attraction than in the middle distance, provided the contrasts are the same. g — An area surrounded by a hard edge has more attraction than if the edge is soft. h — Repetition of a unit weakens its attraction. The exception to this is when a principal character in the fore¬ ground is supported by others directly in back of it. Then it is strengthened by repetition. i — Black against white, or white against black has more attraction than black or white against gray. j — A small white unit in a large black area will have more attraction than the reverse, for the reason that the eye in¬ stinctively seeks light. k — The eye goes first to the point of strongest contrast in value or color, or the strongest line; in the case of move¬ ment, it is attracted by change in di¬ rection. 1 — The eye is attracted to geometric or symbolic shapes, particularly if they seem to be formed by happenstance. m — Emphasis may be achieved by a gradation in tone. The eye will follow this gradation in a direction toward the light. Since we are dealing with a visual subject, it will be found helpful to vitalize the principles involved, where- ever possible. For instance, a mental picture of balance itself as applied to pictures will be of great help, especially in times of stress when it is necessary to compose on the fly. The analogy of the scales is apt, because balance is the relationship of weights. We should, therefore carry in our minds symbolic images representing formal and in¬ formal balance as it is used in both the vertical and horizontal (perspec¬ tive) plane. Equal weights at equal distances from the center or fulcrum convey a static feeling, hence formal balance is more often applied to decorative design. Unequal weights at unequal distances from the fulcrum are the form most commonly used in television because of the feeling of variety. Examples of Informal Balance This drawing illustrates informal balance in the vertical plane. This drawing illustrates informal balance in the perspective plane. 5 — Rhythm The word rhythm suggests music or the dance. Though its application to pictorial composition is not obvious, it is actually of vital importance, and the analogy of the dance is very apt. Take the rhythm of the waltz : One-two-three- one-two-three-, or more particularly the accented rhythm — one-two-three-one-two three. Think of it in terms of movement rather than cadence of sound — in terms of eye movement as it goes from one line or shape to another in looking at a picture. Now apply it to one of the commonest pictures in television — the three-shot. [See illustrations, page 66.] Note that by merely shifting the positions of the three characters and lowering the camera to get variety in height, we have made the arrangement interesting by adding rhythm. In fact, we have created three rhythms. By moving two of the heads closer together, the accented rhythm of the waltz — one- two-three — has been introduced in spac¬ ing. By having one of the characters seen in profile and the other two in three-quarter view, we have rhythm of body position. And again, by the change in head level, still another rhythm has been added. Rhythm is particularly effective when applied to line pattern and to move¬ ment. A rhythmic pattern in the linear structure of the set, when it echoes the rhythmic disposition and movement of the characters, produces the ultimate in effect. In building continuity it is by means of rhythmic patterns that moods are 65 NO RHYTHM: An uninteresting arrangement because there is an absence of rhythm. controlled. The intervals used in cuts, fades and dissolves, and the cadence in the flow of picture continuity will have a very definite effect on the emo¬ tions induced. For this reason it is important that the rhythmic pattern of the continuity be in harmony with the program content. 6 — Pace Variety of pace, suitable to the con¬ tent, is very desirable in continuity. The pacing of a sequence of short shots is important because the intervals be¬ come obvious. There is also the factor of pace or time interval in the observation of a picture. In each composition there is a definite time in which it can be taken in, and there is a more or less definite rate of eye travel through it. Hence, for the picture that is to be held on the screen for only a short time, the eye travel must be fast, while for one of long duration, the pace of observa¬ tion may be as leisurely as desired. Pace of eye travel is subject to con¬ trol. It may be made fast or slow de¬ pending upon the number and place¬ ment of shapes and the use of transi¬ tional lines that lead the eye from one place of interest to another. 7 — Proportion It is axiomatic that everything should be in proportion — in life and in pictorial composition. Subtle proportioning of shapes, lines, colors, and gradations of light gives a picture distinction and contributes to its effectiveness. It would be wonderful if a set of formulas could be written for making things with good proportions, but it can’t be done — such things must be felt instinc¬ tively. Some people have an innate feeling for proportion. If you have it you are fortunate; if you haven’t, the only thing to do is to be observant of things around you, and to study the proportions in pictures that have stood the test of time. 8 — Emphasis The actor emphasizes important words and phrases in order that they will stand out from the rest. The same principle applies in picture construction. In order that the eye may be attracted to the important parts of the picture, it is necessary to give them emphasis. This can be accomplished by the use of line, by contrasts of light and dark or of color, by isolation, by repetition, by placement, and by movement. By referring to the list of factors contributing to balance you will find many of the methods of obtaining dramatic emphasis. 9 — Dominance The two greatest essentials of pictor¬ ial composition are unity and domin¬ ance. To tell a story, to create a mood, or to convey information a picture must have a dominant theme and one spot or area of attraction to which the eye is irresistibly led. If the picture is to be held on the screen for only an instant, the eye must find this place instantly; there must be no doubt or wavering as to the intent, or the scene is lost. If, on the other hand, the scene is long, the eye must be given other areas of lesser attraction, so that it may be led from one to another, always coming back to the dominant area. This may be done through repetition, simi¬ larity, or counterpoint in which some contrapuntal theme or pictorial form supports the main theme. It almost al¬ ways involves the sacrificing of interest in certain areas in the order of relative importance. The greater the number of interest¬ ing shapes a picture contains, the more difficult the problem of control becomes. Therefore, except in skilled hands, the safest rule is to keep the picture simple. 1 0 — Continuity As pointed out earlier, television in¬ volves not only the composition of sepa¬ rate camera shots, but putting those shots together in continuity. No matter how good the shots are, they will fall apart if the continuity is badly con¬ structed. In the paragraphs above, we spoke of eye travel from one place of attrac¬ tion to another. This is continuity within individual pictures. In television the flow is so continuous from scene to scene that the whole program is, in effect, one picture. This means that we must apply to continuity the same prin¬ ciples on which the individual pictures are built. The entire production must have varied unity embellished by rhyth¬ mic harmony; it must be balanced in pace and proportion; and controlled in emphasis by a dominant theme. These are the ten mileposts to good composition. They mark out the route which must be travelled in arriving at pictorial effectiveness. They apply to every segment of the program day and to every picture therein. The telling may make them seem all too compli¬ cated, but so it seems when first learn¬ ing to drive a car until, through familiarity and practice, it has become second nature. As you progress, you will add touches of distinction that re¬ ACCENTED rhythms in this arrangement of a three-shot make it alive and interesting. fleet your own personality. You will develop a style that is your very own-, and by it your work will be known. Procedure in Planning Pictorial Continuity There are, as we have seen, so many factors involved in television picturiza- tion that they can only be handled successfully by intelligent planning; there are too many other things to be thought of during production to leave the working out of visual continuity until the cameras are turned on. A fixed procedure for visual planning will be of infinite help for it will establish habits that make quick decisions pos¬ sible when under the tension of pro¬ duction. Such habits will have definite value in handling the off-the-cuff pro¬ gram which demands split-second think¬ ing and plenty of “know how.” In planning visual continuity, proceed as follows: 1 — Determine the over-all feeling which the production demands. 2 — Analyze the key picture sequences and the transitional scenes for their mood or factual content. 3 — Select the picture treatment — the basic compositional forms — best suited to those needs. 4 — Work out the supporting continu¬ ity. 5 — Put it down on paper, if possible, either in verbal outline or in story¬ board form. Pictorial continuity should be worked out in essentially the same way that an intelligent sales campaign is planned : It should open with some device to capture the attention; gradually it should unfold the charms or merits of what is being offered; it should appeal in varied ways to the fundamental de¬ sires and needs of a specific group of prospects; it should build to a climax, having left one thought, one image or impression so clearly developed that it will not be forgotten. Bear in mind that the audience will retain only a few highlights and an over-all impression. They will remember longest the spots they liked or disliked strongly. If the continuity builds to peaks of excellence and is not just a jumble of pictures, the audience will remember the program with pleasure and enthusiasm. “I predict that within five years this nation will enjoy more than 5,000,000 television sets in home opera¬ tion. Television will be a great new industry and a great new service to the American public.” — Ernest H. Vogel, Vice President in Charge of Sales, Farnsworth Television Sc Radio Corp. 66 THREE THINGS Th at Perkin-Elmer Would Like to Have Television Engineers Know About 1 . Perkin-Elmer made the optics for the largest Schmidt camera in the world. Owned by the Mexican Government, it is used at Tonanzintla, Mexico. 2. Perkin-Elmer originated a new form of Schmidt system at the request of The Rauland Corporation. This new system works close to the theoretical limit in light-grasp and has remarkable definition over a large angular field (45 degrees). •3. Perkin-Elmer has now produced an F/1.0 anastigmatic lens of plastic for home projection. Relatively simple in construction, its superb per¬ formance is the answer to “ something better than the Schmidt. ” THG PUWn-^LnteR CORPORATIOn glgfibrook • conn* Designers, Engineers and Manufacturers of Optical Instruments and Components 67 Eleven months before the United States found itself in the midst of World War II, the American Television Society was born under modest but very hopeful circumstances. Eight people attended that first meet¬ ing on January 23, 1941 — all members of a New York University class in tele¬ vision programming who had gathered together to form what they decided to call a “Television Guild.” Its purposes were ambitious: “To create . . . and produce scripts and programs of every kind and variety suitable ... to the television medium, to be . . . distributed and sold to the television, radio, thea¬ ter or motion picture market . . . such scripts to be known as ‘A Television Guild Production’; to provide and/or employ the personnel necessary to these undertakings, and to copyright and publish the Guild’s material.” Further objectives were the advance¬ ment of the study and appreciation of television as a cultural, educational and entertainment medium; the establish¬ ment of a clearing house for television information, a forum for discussion of ideas and problems, and a complete television library. Toward these ends it was planned to invite recognized leaders in television or related fields to speak to the group at special meetings. This young Guild was conceived pri¬ marily as a profit-making organization, and not the least of its difficulties was that of working out some practicable formula for dividing its prospective wealth. There were more immediate problems, however, some with a famil¬ iar ring — the lack of a suitable meet¬ ing place and laboratory space, a dearth of scripts, uncertainty about the FCC’s plans for television, and corresponding uncertainty among the big television studios about the future. It is not surprising therefore that May 15, 1941, saw the transformation of the little Guild into a new society, to be known as the American Television Society, a “nun-profit-making organiza¬ tion which would serve as an intelli¬ gence center for the pooling of television information, but which would not ex¬ clude financial arrangements being made at a later time . . .” ATS began with twenty-one members all told. There are some familiar names HISTORY. . . AMERICAN TELEVISION SOCIETY ATS has emerged from the years of war strong in direc¬ tion and purpose. Its contributions for the new age ahead should be of immeasurable value to society. By MYRTLE ILSLEY CBS Promotion & Advertising on the rolls of those first meetings — Don McClure, Fred Kugel, Jerry Dan¬ zig, J. Raymond Hutchinson, Carl Ruff — all of them former Guild members. The going was still pretty rough, but the new Society was launched in heroic style nevertheless, by a dinner at the Hotel Astor on June 26, the first public ATS television forum ever held. Sixty- five people attended; the guest speakers included Thomas H. Hutchinson, teacher of that first NYU class, Paul Lazars- feld, Ira Hirschmann, Comdr. Mortimer W. Loewi, William Morris, and J. R. Poppele, and each one of them predicted the important part that such a group as this would play in the future of tele¬ vision. In November of 1941 Warren Caro, first President of ATS, was forced by pressure of his own work to resign, and Norman D. Waters was elected to fill out his term. Holding the Fort Mr. Waters took office at a time of great confusion in the industry. With the outbreak of war the following month, no one could predict the imme¬ diate fate of television. The Society went ahead with plans to help in the preparation of televised defense pro¬ grams, but it was soon apparent that although engineering activities would continue in the form of war research, television production would be cur¬ tailed and finally halted altogether. Faced with the choice of disbanding for the duration or holding the fort for an undetermined length of time, the members of ATS felt that they could serve best by keeping alive the great¬ est possible public interest in television until the war was over. Nevertheless, 1942 was a rugged year for television enthusiasts. ATS meet¬ ings were infrequent; activity in the in¬ dustry was at a standstill. Not until May, 1943, did the Society revive, with a well-attended gathering at the Hotel Capitol to hear a spirited exchange of programming ideas by Will Baltin, Paul Knight, Nor an Kersta and Charles Kleinman. The ice was broken once more; a regular schedule of month¬ ly meetings with well-known guest speakers began. By the fall of 1943 the rapidly lengthening membership rolls were proof that this renewed enthusiasm was gaining momentum month by month. A re-statement of ATS policies and di¬ rection seemed essential, and so in December, 1943, a new Constitution was adopted, defining in greater detail the objectives first pointed out by the far- seeing little Television Guild. This was not enough, however, and in March of the following year the American Tele¬ vision Society filed a certificate of in¬ corporation. The briefly-held plans for profit had long since been forgotten, but the other early ideals were stronger than ever. ATS was officially organized to “ad¬ vance, promote and foster the study, understanding and appreciation of tele¬ vision as a cultural, educational, enter¬ tainment and advertising medium.” Ad¬ vertising was a new addition to the older definition, but the provisions still included an information clearing-house, a discussion forum, a television library, and special meetings on television. Three types of membership had final¬ ly been determined: charter, regular, and associate (for student and junior members). The Society’s business would be directed as before by a seven-man Board of Directors together with the four officers elected annually. And to insure the widest possible representa¬ tion, it was specified that never could a majority of this Board be employed in the same phase of television, nor could more than two Directors be employed by the same company. It did not seem at all fantastic now for the by-laws to provide for author¬ ization of local ATS chapters in other cities, because membership was climb¬ ing steadily — the original eight of the first meeting had grown to 85 by 1943, and to 350 by 1945. A Parade of Speakers In 1944 Dan D. Halpin succeeded Norman Waters as President, and in turn was succeeded by George T. Shu- pert the following year. The Terrace Room of the Hotel Capitol had given way to the auditorium of the Museum of Modern Art as a meeting-place, and an array of guest speakers lined its platform every month to discuss tele- ( Continued on page 70) 68 THE ATS AWARDS... AND THE ADVANCEMENT OF TELEVISION The Society’s recognition of achieve¬ ments in the new art has provided incen¬ tive for improvement of video quality. By J. RAYMOND HUTCHINSON Former Chairman , ATS Awards Committee T he durable value of an award in an art must be measured in the challenge it creates for continued advancement. Otherwise, the plaque, medal, or other- form of recognition becomes a museum piece and the recipient may develop a fatal psychosis that the best has been achieved. When people subscribe to the latter philosophy, art dies. The American Television Society has one fundamental purpose, namely, the advancement of television. To help achieve this high purpose, annual awards are presented. The award pe¬ riod extends from June 1 to May 31 coinciding with the Society’s fiscal year. There has been an increasing interest in the ATS Awards. There is also, and rightly so, an increasing interest in learning how the Awards are made. What determines the categories in which awards are made? On what bases are the recipients selected? These are two of the questions frequently asked. The first awards of the Society were made through the action of the Officers and Board of Directors in 1942-1943 based on available information from many sources on advancement in tele¬ vision art. Nominations for awards were open to all members of the Society, and they were encouraged to present evi¬ dence to substantiate their claims. In 1943-1944, even a cursory examination of the field still showed the major por¬ tion of television activity to be the direct result of station enterprise or policy. It seemed logical as a beginning, therefore, to ask each station for a brief resume, illustrated if possible, of programs and outstanding achievements over their facilities. These formed a basis for initial study by the Awards Committee. Final recognition, of course, would never be based on a station’s own evaluation or promotion material. Policy on Awards The Committee’s evaluation was based largely on actual observation of television productions, and the action of the Committee as approved by the Offi¬ cers and Board of Directors is now a matter of record. In addition to serving as chairman of this Committee, the writer also has had the good fortune to serve since 1939 as Chairman of the Committee on Tele¬ vision, Department of Secondary Teachers of the National Education Association. This group first initiated public observation and evaluation of television programs in America, and its findings were available to the Awards Committee for consideration. Recent requests for information on awards contained the following ques¬ tions: What classifications of television awards are bestowed? When were these awards established and why? How are the judges chosen? Who are they? Our interrogators also asked: How are candidates for awards nominated? How are final selections made? What are the rules for these awards? What individuals and organizations have been presented with these awards since their creation? And for what achievements? Is there an indication of the industry’s opinion of these awards? Does your organization feel that these awards are serving the purpose for which they were created? How are these awards announced to the industry and to the public? Does your organization con¬ template broadening the scope of these awards? These are questions I shall attempt to answer. The accompanying list of ATS Awards, together with the names of recipients, summarizes the activities recognized by the Society as advancing television to date. This list, however, does not answer the questions of why or how the decisions were actually reached. No brief article could possibly answer all these questions in detail. A brief resume of action in which the writer has participated may help to clarify the Society’s awards procedure. In the field of Public Service, in which no award was made for 1943- 1944, one station deemed all of its ac¬ tivity to be in this category since it did not offer any commercially-sponsored service. Another station received an award, even though it did not produce programs itself, because its policy at¬ tracted the best experimentation and achievement in a special field. On December 1, mid-point of the 1944-1945 award year, each active tele¬ vision station was asked for a brief resume of achievement together with station plans for the remaining quar¬ ters. At the same time steps were taken to keep fully advised on the increased television activity throughout the na¬ tion. It was noted that advertising and commercial firms were adding greatly to their number of hours on the air and that programming was growing less dependent on station initiative. To help measure television’s advances with a greater degree of accuracy, a number of prominent editors and other personnel of the television press were asked to serve on the Awards Commit¬ tee. They rendered the Society invalu¬ able service. Under the able leadership of Richard Manville, a specialist in mass response, final recommendations for 1944-1945 were made to the Offi¬ cers and Directors. The Society’s rec¬ ords attest the official action taken. Logic in Evaluation of Merit In considering the problem of pre¬ senting awards, the basic philosophy governing the value of recognition of meritorious effort deserves further ex¬ ploration. There could be extended dis¬ cussion of the question: Can an art be measured objectively? The writer developed the first evalu¬ ation check-list actually used in at¬ tempting to measure the television art objectively. The following items were considered: the artist (s), the director, camera work, sound and visual effects and scripts. Under the item of artist (s), the com¬ petence, sincerity, inspiration, origin¬ ality, and challenge to participate were checked. Under the item of production and the work of the director, the clar¬ ity of detail, continuity, transitions, the tempo whether natural, fast or slow; the tie-in with previous programs, and staging were all considered and evalu¬ ated. Camera work, sound effects and visual effects together with the scripts, when available, were studied carefully. All this was but a beginning. Those intrinsic items of artistry, including lighting, illusion, fantasy, humor, pathos, realism, and the thousand other items or treatments wThich make the difference between a polished, profes¬ sional art form and a mere presenta¬ tion often evaded full evaluation. Some¬ times a half-hour presentation evoked an hour and half of serious discussion. It was comparatively easy to have people register whether they liked or disliked a production and to what ex- 69 AMERICAN TELEVISION SOCIETY AWARDS 1943 PLAQUES To WRGB, General Electric, Schenectady For the station contributing most to programming in 1942 To WNBT, National Broadcasting Co., New York For the station contributing most to television as a public service 1944 PLAQUES To WABD, DuMont, New York For the station contributing most to the art of commercial television To WRGB, General Electric, Schenectady For the station contributing most to the art of television programming To W6XYZ, Television Productions Inc., Los Angeles Honorable mention for. adaptation of motion picture techniques to television To Norman D. Waters, ATS President, 1941-1944 Special Service Award 1945 PLAQUES To Ruthrauff & Ryan, Inc., New York, for Lever Bros, show For the most consistent effort in developing effective television commercials To WNBT, National Broadcasting Co., New York For the most consistent sports programming For the outstanding television program, “Men in White,” directed by Ed Sobol To WCBW, Columbia Broadcasting System, New York For the best educational program, “Opinions on Trial” For the outstanding news program, “CBS Newscast,” with Everett Holies 1945 SPECIAL AWARDS To WABD, DuMont, New York For the development of television commercially To W6XAO, Don Lee, Hollywood For making television facilities available for commercial development on the West Coast To WBKB, Balaban & Katz, Chicago For preparing the Midwest for commercial television To Klaus Landsberg, W6XYZ, Television Productions Inc., Los Angeles For consistent technical excellence in television production To WRGB, General Electric, Schenectady For the best institutional commercial, “Conquest Over Darkness” For the outstanding contribution to children’s programming To Paul Alley, WNBT, National Broadcasting Co., New York For the outstanding editing of news films, “The War As It Happens” To WPTZ, Philco, Philadelphia For developing football television technique To Paul Mowrey, American Broadcasting Co., New York For preparing the American Broadcasting Co. for television To Dan D. Halpin, ATS President, 1944-1945 Special Service Award tent. But to determine why was another problem. The degree of acceptability was entirely contingent upon the indi¬ viduals viewing the production. Highly sophisticated material which may be thoroughly approved by people in cer¬ tain areas will often fall flat among people in other areas. Score cards on programs should provide the same num¬ ber of check places for dislikes as for approval to get proper balance in an objective rating. It is hardly possible, however, to expect stations on their check cards to ask if each program is poor, very poor or terrible as well as good, very good, or excellent. One group holds that the public is not qualified to judge program quality. Another believes that mass approval is the only basis for true judgment. For example, following the reasoning of the first group, radio fare in one country is placed entirely in the hands of a national director because he, in his wis¬ dom, knows who and what is best. The second group’s beliefs, carried to the full, recall the lines of “The Coliseum”: “Here where the millions’ blame or praise was life or death, the plaything of a throng.” An awards committee might well feel that a happy medium of these two philosophies is most desirable, yet decisions must be made solely on the actual merits involved in each case. There is also the awards philosophy that would recognize and honor numer¬ ous factors or persons for innumerable reasons. This policy leads to diminish¬ ing values for each award because the recognition is so scattered. Opposed to this practice is the fundamental truth that there is only one best. The cynic may blithely ask, best for whom, or at what? It is splendid to hear the director or producer of the best-rated program of 1944-45 modestly declare that good scripts are the prime requisite for good productions. These things must be considered by an awards committee, and the public’s reaction watched in more than a single local area. There are many things backstage, and in the higher offices which do not meet the eye. There are many programs which are highly commendable but not necessarily popular. The intensity of response may be just as important as the numerical volume of approval for either productions or policy. Progress Sincerely Evaluated All these debatable issues add up to a convincing reason why an award should be made to the members of an award committee. Their real reward is realized from knowing that they have approached their work without bias, labored intelligently and diligently to make their decisions valid beyond ques¬ tion. Their service is most worthy, and essential to television’s advancement. There is a hitherto unheralded value to these awards which should be recog¬ nized. For example, what reward is there, aside from remuneration, for the many people who are responsible for each program? After the presentation and the show is off the air, what tan¬ gible evidence of their effect is at hand? There is no box-office, no long run, no film record — only a new program sched¬ ule to be met with something new. The degree to which that new effort will be improved depends in no small measure upon proper recognition of true achievement. The ATS Awards are dedicated to this high purpose. ATS HISTORY {Continued from page 68) vision from varied and occasionally con¬ flicting points of view. For with the spring of 1944 television had come to life again in the big studios and the “future” of television seemed close at hand. Subsequently, the meeting-place was moved to the Barbizon-Plaza. Committees, always important in ATS work, shouldered heavier loads than ever. There was a committee pro¬ viding monthly programs, a committee doing educational research, another building a television collection in a corner of the N. Y. Public Library, to point out a few. The television program laboratory became one of the most popular activities, offering an oppor¬ tunity to members actually to produce their own shows on television. Panel discussion groups covering specific phases of television provided even more intensive exploration of members’ inter¬ ests than was possible through general meetings alone. And the yearly ATS Awards for outstanding work in televi¬ sion grew to be an increasingly impor¬ tant function of the Society. The 1945-46 season which has just begun finds a world at peace for the first time since the American Television Society was in its infancy. By rights the war should have stunted its growth, and yet, like the television industry it¬ self, ATS has emerged from the years of blight stronger in direction and pur¬ pose than ever before, with much to do and much to give in the new age ahead. 70 EXECUTIVES OF THE AMERICAN TELEVISION SOCIETY President 1945-46 Director 1944-46 GEORGE T. SHUPERT, since 1943, has served as assistant to Paul Raibourn, president of Television Productions, Inc., wholly-owned subsidiary of Para¬ mount Pictures, Inc., operating tele¬ vision station W6XYZ, Hollywood. From 1940 to 1943, he was sales direc¬ tor of Paramount Pictures Industrial Film Division, which he organized. From 1938 to 1940 he was associated with Industrial Pictures, Inc., of De¬ troit. From 1925 to 1938 he was in the investment banking business, helped organize the National Security Traders Association and, for two years, was an officer and director of the Michigan Security Traders Association. During the 1944-1945 season, Mr. Shupert was a director of the American Television Society and chairman of its Member¬ ship Committee. He is also a member of the Program Committee of the Tele¬ vision Broadcasters Assn, and of the Radio Manufacturers Assn, subcommit¬ tee on facilities for television. Vice Presdent 1945-46 Director 1944-46 DAVID HALE HALPERN, after six years as vice-president and general manager of Henry Souvaine, Inc., radio program producer, recently joined Owen & Chappell, Inc., advertising agency, as vice-president in charge of radio and television. Mr. Halpern has had ex¬ tensive experience in writing, directing and teaching radio. He has served as program director of radio stations WMAS, WATR and WBRY and, for the Massachusetts State Department of Education, developed and taught courses in creative writing for radio. He holds an L.L.B. from St. Lawrence Univer¬ sity; has served as radio director for the Republican Party in Connecticut, and is a member of the Radio Commit¬ tee of the Civil Liberties Union. During the 1944-45 season, Mr. Halpern served as a director of the American Television Society and also as chairman of its Program Committee. Secretary 1944-46 Director 1944-46 ALICE PENTLARGE has been affiliated with radio station WQXR, New York, since 1936. She is currently co-moder¬ ator and producer of the weekly New York Times program, “What’s on Your Mind?” Other programs in which she played major roles include “So You Haven’t the Time,” “Fashions of the Times,” “Can It Be Done?,” “Fashions in Art,” and “Counterspy.” During the war she worked with the Radio Section of the Office of Emergency Management for OCD and appeared on more than 70 radio programs as a representative of the War Production Board’s Division of Information. Miss Pentlarge has traveled extensively and studied in Europe and North Africa. While living in Switzerland from 1931 to 1934 she collaborated with Don Francisco de Reynoso in writing “Reminiscences of a Spanish Diplomat.” Her articles have appeared in Reader's Digest and The Woman. She is serving her second term as secretary of the American Television Society. Photograph of Mr. Halpern by Pach Bros. Photograph of Mr. McClure by Larry Colwell. Treasurer 1944-46 Director 1944-46 DON McCLURE, after graduating from Carnegie Tech, spent four years in Hol¬ lywood as a writer, actor and director. Moving to New York, he applied the same trio of talents to Broadway. In 1936 he turned to radio and joined the radio writing and directing staff of the J. Walter Thompson advertising agency. Later, he wrote and directed radio programs for Young & Rubicam. From Pearl Harbor until last autumn he served as a test engineer for Con¬ solidated Ship Builders, producers of PC boats. He is now director of tele¬ vision for N. W. Ayer & Son, Inc. Mr. McClure is one of the pioneer members of the American Television Society and is serving his second term as treasurer. Director 1944-46 Chairman, National Expansion Committee 1945-46 EDWARD C. COLE has served as assis¬ tant professor and technical director of the Department of Drama at Yale University’s School of Fine Arts since 1935. He has served as a member of the faculty since 1930. During the sum¬ mer of 1944 he was a member of the program staff of television station WRGB. During the summer of 1945 he 71 lectured at the Randall School in Hart¬ ford. Several previous summers were spent as technical director of The Hampton Players, Southampton, N. Y. He is author of “A Stage Manager’s Manual” and co-author of “Scenery for the Theatre.” Mr. Cole holds an A.B. degree from Dartmouth and an M.F.A. from Yale. He is the delegate for the Yale Department of Drama to the Tele¬ vision Broadcasters Association; a charter member of the American Tele¬ vision Society and a veteran member of the Board of Directors. Last year he also served as chairman of the ATS Library Committee. Director 1945-46 THEODORE HUSTON is a radio and television director of Ruthrauff & Ryan, Inc., the advertising agency responsible for the veteran television program, “Wednesdays at Nine is Lever Brothers’ Time” and such radio programs as “Big Sister” and “Philo Vance.” Mr. Huston was formerly a CBS radio director and also has served two years as a television director-writer at WRGB, Schenectady. He was featured in a G-E industrial motion picture showing how television works. He graduated from the University of Pennsylvania and served as an announcer and pro¬ ducer for a number of small radio sta¬ tions in New England before entering the field of television. Mr. Huston is a charter member of ATS. Director 1945-46 JOHN FLORY is a writer, director and producer of motion pictures. He heads the documentary and educational film producing firm of Grant, Flory & Wil¬ liams which has produced movies for the U. S. Department of Agriculture, the Cleveland Trust Company, Good Housekeeping and others. Mr. Flory spent five years with Paramount pro¬ ducing radio transcriptions, film motion picture prevues and short subjects. He served as production manager of the documentary film, “The City.” While at Yale, where he studied under the late Professor George Pierce Baker, he served as editor and motion picture critic of “The Yale Daily News.” He has studied also at the LaVilla School, Lausanne, Switzerland. In recent months, out of his considerable research into film’s role in television, he has con¬ tributed many articles to “Television,” “Televiser,” “Education Digest,” “Edu¬ cational Screen,” “International Pro¬ jectionist” and other magazines. Mo¬ tion pictures are a family affair in the Flory household as Mrs. Flory, the former Elizabeth Harding, is executive secretary of the Educational Film Li¬ brary Association. President 1944-45 Director 1944-46 DAN D. HALPIN was president of ATS for the 1944-45 term. He is a television receiver sales specialist for the RCA Victor Division of the Radio Corpora¬ tion of America. He joined RCA Victor in 1940 as manager of television re¬ ceiver sales in New York and also directed the merchandising of RCA per¬ sonal radios. He served as coordinator for the world premiere of RCA Theatre Television at the New Yorker Theatre, May 1941. Later, as manager of RCA Industrial Music Service, he contrib¬ uted materially to the growing use of music in industry. During 1945, he acted as chairman of the Music in Industry Committee of the Music War Council. Before joining RCA Victor, Mr. Halpin was a director, vice-presi¬ dent and general sales manager of the Dictograph Products Company. He man¬ aged Knute Rockne’s National Champ¬ ionship Football Team of 1930; is a charter member of the Sales Executives Club of New York, and a member of the Society of Motion Picture Engineers. Mr. Halpin is one of the two recipients of the American Television Society’s service award, presented to him in 1945. Photo of Mr. Halpin is © by Bachrach; Photos of Miss Peirce and Mr. Taylor by Larry Colwell. Director 1945-46 Chairman, Program Committee 1945-46 HERBERT E. TAYLOR, Jr. has been direc¬ tor of transmitter equipment sales for Allen B. DuMont Laboratories, Inc., for the past two years. In the DuMont organization, he has also served as assistant priority supervisor; manager of the War Service Department; and assistant director of Cyclograph sales. His favorite subject of conversation is the economics of television and he has acquired extensive experience in the use of all types of television equipment. He recently completed a 25,000-mile transmitting equipment marketing study. Prior to his DuMont affiliation, Mr. Taylor piled up experience as a salesman, bank clerk, professional sing¬ er and writer of dramatic sketches. Director 1945-46 EVELYN BARNES PEIRCE is supervisor in charge of daytime radio at Compton Advertising, Inc. and a staff director of Theatre Production Service, both of New York. She received her B.A. at Wellesley College and her theatre train¬ ing in the Maria Ouspenskaya Studio of Acting. Miss Peirce has handled virtually all phases of theatrical work and radio programming; has directed and acted with well-known summer stock companies; has served the- Thea¬ tre Guild in casting and directorial capacities; was casting director of all Federal Theatre productions in New York; headed the drama, dance and music departments of the National Youth Administration; stage-managed “Seventh Trumpet,” “Richard III” and 72 Ballet International productions. She has written and directed many radio programs and was formerly in charge of special programs selection at Batten, Barton, Durstine & Osborn. Director 1944-46 CHARLES H. KLEINMAN is a former vice-president of ATS, a charter mem¬ ber of the organization and former chairman of both the ATS Laboratory and Membership committees. He is a commercial engineer on broadcast and television equipment for the RCA Vic¬ tor Division, Radio Corporation of America. Before joining RCA, Mr. Kleinman served as project engineer for Hudson-American Corporation and Dictograph Sales Corporation. In 1941- 1942, he was program director of Met¬ ropolitan Television where he instituted experimental television programming. Mr. Kleinman entered radio broadcast¬ ing in 1934 and has been associated with WNEW, WABC, WBBM, WQXR and WEVD. From 1930-1935, he was director of stage lighting for the Kauff¬ man Theatre, New York. He was a re¬ search technician in acoustics and allied fields with E. E. Free Laboratories from 1929 to 1934. Chairman, Motion Picture Committee 1945-46 DON WIDLUND is head of the distribu¬ tion of sponsored film for the J. Walter Thompson Co. For almost a decade he was with the Jam Handy organization in Detroit; helped set up a theatrical distribution system there and served as its Army Air Forces contact for three years on the production of train¬ ing films. In 1937, working with Handy, he began a study in cooperation with television stations in New York, Chi¬ cago and Hollywood to ascertain the acceptability of various types of films for television. More than 100 films were televised. Mr. Widlund was formerly a booker for Warner Bros, theatres and was at one time with RKO as an office manager and salesman. Chairman, Committee on Awards 1944-46 and Co-Chairman, Panel Discussion Groups 1945-46 RICHARD MANVILLE is a consultant on advertising and research to many ad¬ vertising agencies and media in this country and Canada. He was formerly the director of research for Donahue & Coe, Inc., Warwick & Legler, Inc., and was advertising analyst at Newell-Em- mett Co. He authored “How to Create and Select Winning Advertisements,” which will be included in a new book published by Harper’s, titled “Advertis¬ ing Results and How to Get Them.” He spoke on television audience re¬ search at the 1944 convention of the Television Broadcasters Assn., and at Televiser’s 1945 “Television Institute.” Chairman, Library Committee 1945-46 MYRTLE ILSLEY chronicled the history of the American Television Society for this pioneering issue of the American Television Directory. Miss Ilsley is a member of the CBS sales promotion and advertising staff. She has a bache¬ lor of arts degree from Hunter College, a master of arts degree from Radcliffe College and worked for some time with the American Red Cross. Her associa¬ tion with radio and television began at the Harvard University Radio Research Laboratory. She joined the Columbia Broadcasting System Research Depart¬ ment in 1943 and until the summer of 1945 was connected with the CBS Tele¬ vision Engineering Department. Chairman, Membership Committee 1945-46 J. J. DOUGHNEY has been with Para¬ mount Pictures, Inc. since 1920. He is assistant to Paul Raibourn, economist of Paramount Pictures, Inc. who heads Paramount’s television interests. Mr. Doughney also serves as assistant trea¬ surer of Allen B. DuMont Laboratories, Inc. He has held every office in the Paramount Pep Club except secretary. He was president in 1941-42 and mem¬ ber of the Board of Governors. Chairman, Public Relations Committee 1945-1946 DAVID O. ALBER, president of David 0. Alber Associates, Inc., is a veteran radio and industrial publicist with 19 years’ experience to his credit. In addi¬ tion to handling public relations for the American Television Society, his or¬ ganization serves Allen B. DuMont Lab¬ oratories, Inc., Chelsea Cigarettes, Kate Smith, Ralph Edwards of “Truth or Consequences,” Ben Grauer, Sammy Kaye, Guy Lombardo and other prod¬ ucts, personalities and programs. David O. Alber Associates has con¬ sistently won first place in the annual Billboard Exploitation Awards. Mr. Al¬ ber is a former reporter for the New York Evening World and the New York Sun. He is a charter member of ATS. 73 Chairman, Finance and Budget Committee 1945-46 ARCHIBALD U. BRAUNFELD is a gradu¬ ate of New York University, a Certified Public Accountant, and a member of the New York State Society of CPA’s. He is also a member of the Radio Ex¬ ecutives Club of New York and New York University Commerce Alumni. Chairman, Reception Committee 1945-46 STERLING E. NORCROSS attended the School of Civil Engineering at Cornell University and since then has been engaged in industrial sales engineering and advertising. He has been particu¬ larly interested in the visual sales po¬ tentialities of television and has created many slogans, trade marks and mailing pieces to capitalize upon them. Chairman, Directory Committee 1945-46 RICHARD P. STEINER is director of market research for General Cable Cor¬ poration. He acquired a B.S. at South¬ western and took post-graduate work at Kansas University. He has served as assistant treasurer of Theatre Serv¬ ice Corp. and Fashion Creators Guild and also as manager of market research for Darco Corp., a subsidiary of Atlas Powder Co. He served as chairman, ATS Research Committee, 1944-45. Chairman, Program Laboratory 1945-46 RAYMOND E. NELSON is vice president of Charles M. Storm Co., New York, in charge of radio and television activities. He has produced over 100 television programs, including dramatic, variety, musical, fashion, educational, demon¬ stration and spot news presentations. These programs have been presented for Tintex, Alfred Dunhill of London, Park & Tilford, Fawcett Publications, Hillman Publications, Esquire , Conover Models, U. S. Army, American Red Cross, and others. His pioneering in¬ cludes production of the first original full-length musical comedy written for television, “The Boys from Boise”; a full-length musical, “The Television Follies of 1944,” and a continuous three- hour spot-news show on presidential election night. Co-Chairman, Panel Discussion Group 1945-46 FREDERICK ALLEN KUGEL is publisher of Television which he founded in May 1944. He was educated at the Uni¬ versity of London’s School of Economics and the University of Pennsylvania’s Wharton School of Finance and Com¬ merce. Mr. Kugel has served as adver¬ tising manager of Carbona Products Co.; was in charge of prewar sales of DuMont television receivers in metro¬ politan New York, and, in 1941, launched the Review of Recorded Music, which he distributed through music dealers. His chief interest is the prac¬ tical application to education of films and television. Mr. Kugel, a charter member of ATS, is one of the country’s youngest publishers. Television, first launched as a quarterly, quickly won recognition with the industry, and ex¬ panded to a monthly. In it, Mr. Kugel emphasizes his own factual, practical approach to all phases of television. Chairman, Committee on Education 1945-46 DR. LEONARD POWER is an independent educational consultant. He was former¬ ly Coordinator of Radio Research for the Federal Radio Education Committee, and assistant to Dr. John W. Stude- BY-LAWS OF Article One: Organization 1 — The name of this organization shall be American Television Society, Inc. 2 — The organization shall have a seal which shall be in the following form : 3 — The organization may at its pleas¬ ure by a majority vote of the mem¬ bership body change its name. Article Two: Purposes The following are the purposes for which this organization has been or¬ ganized : 1 — To advance, promote and foster the study, understanding and apprecia¬ tion of television as a cultural, educa¬ tional, entertainment and advertising medium. Photographs of Messrs. Steiner, Kugel and Rockafellow by Larry Colwell: of Dr, Power by Pach Bros. 74 baker, U.S. Commissioner of Education. Dr. Power was the first president of the Department of Elementary School Prin¬ cipals, National Education Association. He has been associated with the Uni¬ versity of Chicago and Columbia Uni¬ versity. Associate Editor, "ATS News" PATRICIA MURRAY is associate editor of TV, a new magazine. A graduate of the University of Pennsylvania, she was a member of Jasper Deeter’s Hedgerow Theatre for four years and has been heard on many radio pro¬ grams. Pat started with NBC Television in 1938 as actress, announcer and mis¬ tress of ceremonies. She was selected “Miss Television of the New York World’s Fair” both years of the Fair, and also won the title “Miss Liberty” in a field of 500 contestants. She was sent to Hollywood by Liberty to make the film, “I’ll Tell the World.” In tele¬ vision, Pat is probably best known as the announcer for the Lever Bros.’ show, “Wednesdays at Nine,” having been connected with this program since its inception in 1943. In recent months, she has been seen with John Reed King in the “Thanks for Looking” show at WABD. President 1941-44 NORMAN D. WATERS has been president of his own New York advertising agency, Norman D. Waters & Asso¬ ciates, since its inception in 1927. His strong and early enthusiasm for tele¬ vision was the breath of life to the American Television Society on many occasions in its early history. His agency has experimented with scores of television dramas, fashion shows and commercial techniques at WABD. Editor, "American Television Directory" 1946 and Editor, "ATS News" RALPH ROCKAFELLOW, an advertising executive with Buchanan & Co., has an extensive background in publishing, the legitimate theatre, motion pictures and television. He has served as an actor and assistant director in motion pic¬ tures, stock and Broadway productions; as an editor with Printers’ Ink, Out¬ doors Pictorial, World’s Work, Golden Book Magazine and Review of Reviews; and as business manager for seven years with Review of Reviews Corp. He has contributed extensively to trade and general magazines, and has auth¬ ored dramatic scripts for motion pic¬ tures, the theatre, radio and television. He has been associated with Doubleday, Doran & Co., Reiss Advertising, Young & Rubicam, and E. B. Weiss, advertis¬ ing consultant. THE AMERICAN-TELEVISION SOCIETY, INC. 2 — To establish and provide an in¬ telligence center or clearing house for information pertaining to television and its development. 3 — To provide a forum for an ex¬ change of ideas, and discussions of mutual problems affecting or relating to the television field, and to provide group activity to aid in the growth and improvement of the television industry. 4 — To collect and build a full and complete library on television, to be made available to members. 5 — To sponsor special meetings, or other functions for the dissemination of information pertaining to television, and to invite to such meetings or func¬ tions recognized leaders in television or related fields to speak on various phases of the medium and its use. 6 — To place the advantages of the Society within the reach of all who are thoroughly interested in the new me¬ dium, by affording the opportunity for affiliation or membership, as provided in the Constitution and By-laws of the American Television Society. 7 — To do all and everything neces¬ sary, suitable and proper for the com¬ plete accomplishment of these purposes and the attainment of the objects here¬ in set forth. Article Three: Membership and Dues Membership in this organization shall be open to all who have had actual ex¬ perience in television, or those who by reason of learning, training, general experience or background are deemed suitable for membership. Members of the herein membership corporation shall have the rights of direct partici¬ pation in all activities of the herein membership corporation, including the right to attend meetings, to participate in the herein membership corporation’s discussions or forums, and to have ac¬ cess to the herein membership corpora¬ tion’s library and documentary material pertaining to the field of television; it being understood, however, that asso¬ ciate members shall not have voting rights. All members of American Television Society, the unincorporated association which preceded the herein membership corporation, are automatically tempo¬ rary members of the herein corporation until May 31, 1944, by which time they can become permanent members of the herein membership corporation if they pay dues for the year commencing June 1, 1944. All members of the former American Television Society, the unincorporated association, except those in the Ai’med Forces, shall be automatically dropped from the rolls of membership of the herein membership corporation if they have not paid their dues for one year from June 1, 1944, on or before May 31, 1944. All members, who have paid their dues for one year in advance from June 1, 1944 on or before May 31, 1944, are to be deemed as charter members of the herein membership corporation. The annual dues for regular mem¬ bers shall be $10.00 per annum, the same to be computed on a fiscal year basis, fiscal year to commence on June 1st of each year, commencing June 1, 1944. Any and all members who join the herein membership corporation on and after June 1, 1944 shall pay an entrance fee of $5.00 in addition to the aforesaid dues. Any and all members who have joined the herein member¬ ship corporation on or before May 31, 1944 shall not pay such entrance fee. 75 GUESSING ABOUT TELEVISION By LOWELL THOMAS NBC Commentator The world of radio is talking television. All technical signs point to a wide¬ spread broadcasting of scenes as well as sound in the near future. Program experts and show builders are racking their brains, foreseeing revolutions in the styles of entertainment transmitted by wireless and trying to guess at the patterns that television will develop. What about news, for example? How will television present the tidings of the day? It is easy, of course, to foresee the televising of such events as fires, headline airplane flights, sports — such spectacles as permit the operation of equipment at the scene. But what about the roundup of the news, most of which cannot be televised? It happens that I have had some experience with that, having given the first televised news broadcast put on by NBC and the first sponsored series of tele¬ vision news programs. The war cut the development short, but now, according to all signs, the thread of progress will be picked up again. What to do while televising news? What action can there be on the screen? One obvious thing is for the narrator to point out places on a map — when it’s that kind of news story. I did that in my own televised programs. These were during the European war, and war puts emphasis on maps. But the map is, at best, only a partial answer. After a few repetitions, map pointing becomes monotonous, the same old thing. We were thinking, a few years back, of newsreel film — and newsreel, no doubt, will be an important element of television entertainment. Reels made up as now, with sound, narrating voice and music, could be televised. Films made shortly before at the scene of events could be used, and news stories could be illustrated by material from the film library. For example, in talking about the President and the White House, you might construct your story in such fashion that it could be neatly illustrated with stock scenes of the President doing something or other at the White House. I myself am a newsreel worker, and from my own experience I can see many angles in the application of the newsreel to television. However, I think that people who are poring over problems of televised news may place too much emphasis on the necessity of having a variety of action on the television screen while news is being recited. There may be too much assump¬ tion that to show merely the image of the broadcaster would become monotonous. After all, people do listen to speakers who stand up there and say things, lecturers for example. If the talk is good they don't find it monotonous merely because they have nothing to look at but the individual as he discourses. They can let their eyes wander without losing the continuity of what's going on — and that makes for ease. People listen to lectures, speeches or sermons an hour long, and news recital is brief. So maybe in television the technique to a considerable extent may be to televise a news narrator talking, with a shifting of pictorial angles for variety. In other words, televised news may not be so far away from present day radio news as some people believe. All members provided for as afore¬ said shall have full voting rights. There shall also be a participating non-voting membership open to students and junior members under twenty-five years of age, who have a serious in¬ terest in television. This membership shall be known as “Associate Member¬ ship.” The dues for such associate mem¬ bers shall be $5.00 per annum and there shall be no entrance fee charged to them. Associate members shall not have the voting rights. Application for membership in the herein membership corporation shall be submitted to the Board of Directors on a form which it shall be its duty to prescribe; and each applicant shall be sponsored by a member. The Board of Directors shall con¬ duct such investigation and examina¬ tion as will enable it satisfactorily to learn the qualifications of the applicant. Application shall be voted upon by the Board of Directors at any regular or special meeting of the said Board. The Board may vote to accept, reject or withhold such application for a time to be fixed in its discretion. A two- thirds vote of the Board members pres¬ ent but not less than fifty per cent of the entire Board shall be necessary to elect an applicant to membership. The individual action of the members of the Board shall be kept secret. The Board of Directors may call upon the advice and assistance of the Member¬ ship Committee in considering new ap¬ plicants for membership. Upon the election of a new member the President of the herein membership corporation or the Chairman of the Board of Directors shall notify the Secretary, who shall notify the appli¬ cant of his election, and shall include his name in the next succeeding notice of meeting of the herein membership corporation. In case of a member’s unreasonable neglect to pay dues, the Board of Di¬ rectors may, in its discretion, declare such membership terminated. All members of the Armed Forces who have not previously been members of the society may become members for the duration of the war, upon payment of a $2.00 fee for the duration of the war or until their earlier discharge from the Armed Forces; entrance fees are waived for such members of the Armed Forces. Suspension or expulsion: If a member should, without just cause, become wholly inactive and should fail to cooperate in carrying out the work of the Society, should fail to attend meetings, and otherwise should unreasonably fail to contribute in any way to the carrying on of the functions and activities of the Society as an ac¬ tive member, — or if the conduct of any member shall appear to the Board of Directors to be objectionable to the character and welfare of the Society or contrary to the Constitution and By-laws, rules or spirit of the Society, the Board of Directors shall inform such member thereof in writing. The offending member may respond in writ¬ ing or in person at a time appointed by the Board. A full hearing shall be had on any charges so preferred. Any such member may be censured, sus¬ pended or expelled by an affirmative vote of two-thirds of the members of the Board of Directors present, but not less than fifty (50) per cent of the entire board. Article Four: Meetings The annual membership meeting of this organization shall be held on the second Thursday in May each and every year except that if such day be a legal holiday then and in that event the Board of Directors shall fix the day, other than that prescribed herein; but it shall not be more than two weeks from the date fixed by these By-Laws. The Secretary shall cause to be mailed to every member in good standing at his address as it appears on the mem¬ bership roll of this organization a no¬ tice telling the time and place of such annual meeting. Regular meetings of this organiza¬ tion shall be held monthly at such time and place as is fixed by the President of the herein membership corporation. The Board 'of Directors may elimi¬ nate summer meetings if it deems it advisable. The presence of not less than 25 per cent of the voting Members shall con¬ stitute a quorum and a quorum shall be necessary to conduct the business of this organization; but a lesser number may adjourn the meeting for a period of not more than 14 days from the date fixed by these By-Laws and the Secretary shall cause a notice of this 76 scheduled meeting to be sent to all those members who were not present at the meeting originally called. Any number present shall constitute a quo¬ rum at the second meeting and all business transacted at such adjourned meeting shall be binding upon the or¬ ganization. Special meetings of this organization may be called by the President when he in his discretion deems it for the best interest of the organization. No¬ tices of such meeting shall be mailed to all members at their addresses as they appear on the membership roll at least five days but not more than ten days before the scheduled date set for such special meeting. Such notice shall state the reasons that such meeting has been called, the business to be transact¬ ed at such meeting and by whom called. At the request of three members of the Board of Directors or twenty mem¬ bers of the organization the President shall cause a special meeting to be called but such request must be made in writing at least twelve days before the requested scheduled date. No other business but that specified in the notice may be transacted at such special meeting without the unanimous consent of all present at such meeting. Article Five: Voting At all meetings, all votes shall be viva voce, except that for election of officers and directors ballots shall be provided and there shall not appear any place on such ballot any mark that might tend to indicate the person who cast such ballot. At any regular or special meeting if a majority so requires any question may be voted upon in the manner and style provided for election of officers and directors. The use of proxy shall be forbidden. At all votes by ballot the chairman of such meeting shall immediately prior to the commencement of balloting ap¬ point a committee of three who shall act as “Inspectors of Election” and who shall at the conclusion of such balloting certify in writing to the chair¬ man the results and the certified copy shall be physically affixed in the minute book to the minutes of that meeting. No inspector of election shall be a candidate for office or shall be person¬ ally interested in the question voted upon. Article Six: Order of Business 1— Roll Call. 2 — Reading of the minutes of the preceding meeting. 3 — Reports of Committees. 4 — Reports of Officers. 5 — Old and Unfinished Business. 6 — New Business. 1 — Good and Welfare. 8 — Adjournments. Article Seven: Board of Directors The business of this organization shall be managed by a Board of Direc¬ tors consisting of seven members to¬ gether with the officers of this organ¬ ization. At least one of the directors TELEVISION may boost international amity by bringing strange peoples and customs into your living room. TELEVISION'S best friend will probably be the housewife who will see latest fashions, watch cooking demonstrations and her pet soap-opera. ONE of the delights of television will be that you will be able not only to hear, but also see the fascinating commercial announcements. Drawings by Perry Barlow, courtesy Collier's. 77 elected shall be a resident of the State of New York and a Citizen of the United States. The directors to be chosen for the ensuing year shall be chosen at the an¬ nual meeting of this organization in the same manner and style as the of¬ ficers of this organization and they shall serve for a term of one year. The Board of Directors shall have the control and management of the af¬ fairs and business of this organization. Such Board of Directors shall only act in the name of the organization when it shall be regularly convened by its chairman after due notice to all the directors of such meeting. A majority of the members of the Board of Directors shall constitute a quorum and the meetings of the Board of Directors shall be held as frequently as required. Each director shall have one vote and such voting may not be done by proxy. The Board of Directors may make such rules and regulations covering its meetings as it may in its discretion determine necessary. Vacancies in the said Board of Directors shall be filled by a vote of the majority of the remain¬ ing members of the Board of Directors for the balance of the year. A director may be removed when sufficient cause exists for such removal. The Board of Directors may entertain charges against any director. A direc¬ tor may be represented by counsel upon any removal hearing. The Board of Directors shall adopt such rules as it may in its discretion consider necessary for the best interests of the organiza¬ tion, for this hearing. The Board of Directors may elect from its members a Chairman of the Board of Directors. At no time shall a majority of the Board of Directors be employed in the same phase of television and no more than two members of the Board of Di¬ rectors shall be employed by the same company, firm, corporation, or subsid¬ iary. Article Eight: Officers The officers of the organization shall be as follows: President, Vice Presi¬ dent, Secretary, and Treasurer. The President shall preside at all membership meetings. He shall present at each annual meet¬ ing of the organization an annual re¬ port on the work of the organization. He shall appoint all committees, tem¬ porary or permanent. He shall see that all books, reports and certificates as required by law are properly kept or filed. He may be one of the officers who may sign the checks or drafts of the organization. He shall have such powers as may reasonably be construed as belonging to the chief executive of any organiza¬ tion. The Vice President shall in the event of the absence or inability of the President to exercise his office become acting president of the organization with all the rights, privileges and powers, as if he had been the duly elected president. The Secretary shall keep the minutes and records of the organization in ap¬ propriate books. It shall be his duty to file any certificate required by any stat¬ ute, federal or state. He shall give and serve all notices to members of this organization. He shall be the official custodian of the records and seal of this organiza¬ tion. He may be one of the officers re¬ quired to sign the checks and drafts of the organization. He shall present to the membership at any meetings any communication ad¬ dressed to him as Secretary of the organization. He shall submit to the Board of Directors any communications which shall be addressed to him as Secretary of the organization. He shall attend to all correspondence of the organization and shall exercise all duties incident to the office of Sec¬ retary. The Treasurer shall have the care and custody of all monies belonging to the organization and shall be solely re¬ sponsible for such monies or securities of the organization. He shall cause to be deposited in a regular business bank or trust company a sum not exceeding $1,000.00 and the balance of the funds of the organization shall be deposited in a savings bank except that the Board of Directors may cause such funds to be invested in such investments as shall be legal for a savings bank in the State of New York. He must be one of the officers who shall sign checks or drafts of the or¬ ganization. No special fund may be set aside that shall make it unnecessary for the Treasurer to sign the checks issued upon it. He shall render at stated periods as the Board of Directors shall determine a written account of the finances of the organization and such report shall be physically affixed to the minutes of the Board of Directors of such meetings. He shall exercise all duties incident to the office of Treasurer. No officer shall for reason of his of¬ fice be entitled to receive any salary or compensation, but nothing herein shall be construed to prevent an officer or director from receiving any compensa¬ tion from the organization for duties other than as a director or officer. Article Nine: Salaries The Board of Directors shall hire and fix the compensation of any and all employees which it in its discretion may determine to be necessary in the con¬ duct of the business of the organization. “The time is here to put out less talk about color, or stratovision, or coaxial cable, or high definition, and still higher definition. The time is here to put out programs which can compete with what John Q. Public now gets for nothing on the radio or for a few cents per hour at the movies.” — Ralph Austrian, Vice President, RKO Television Corp. Article Ten: Committees All committees of this organization shall be appointed by the President and their term of office shall be for a period of one year or less if sooner terminated by the action of the Board of Directors. The permanent committees shall be such as may be determined upon by the Board of Directors. Article Eleven: Elections The fiscal year of the herein mem¬ bership corporation shall begin on June 1st of each year, and the first regular meeting in May of each year, which shall be held the second Thursday of said month, shall be the annual meet¬ ing of the herein membership corpora¬ tion; if for some reason the meeting cannot be held on that day, then and in that event it shall be held not more than two weeks from the date fixed by these By-Laws. The annual meeting shall be devoted to elections and such other business as may come before the meeting. Before the first meeting in March of each year, the President shall appoint a Nominating Committee of seven members, three of whom shall be chosen from the Board of Directors and the other four from the membership at large. This Nominating Committee shall prepare and present to the membership, at least five days before the first meet¬ ing in April, a suggested slate of of¬ ficers and directors to be elected for the next fiscal year. The candidates for officers and direc¬ tors presented by the Nominating Com¬ mittee shall automatically be put in nomination at the first meeting of the membership corporation in April. In addition to those nominated by the Nominating Committee, any other vot¬ ing member of the herein membership corporation may be placed in nomina¬ tion, at the first meeting in April, providing such nomination is made in writing and is signed by at least ten of the voting members in good standing of the herein membership corporation. At the election meeting the members of the Board of Directors and officers shall be elected by written ballot and a plurality vote of the members present at the said election meeting shall con¬ stitute an election. Article Twelve: Amendments These By-Laws may be amended by the affirmative vote of two-thirds of the members present at any regular or special meeting, but not less than a majority of the entire herein member¬ ship corporation, provided that notice of such meeting and the purpose there¬ of have been duly given to the mem¬ bership in writing at least ten days prior to the meeting. Article Thirteen: Chapters The herein membership corporation may authorize local chapters to be formed in cities other than New York City, upon such terms and conditions as the Board of Directors may deter¬ mine. 78 MEMBERS . . . AMERICAN TELEVISION SOCIETY Each member’s professional activity, his business connection, address and phone number are given wherever pos¬ sible. His class of membership is indi¬ cated as ATS-Charter, ATS-Active, ATS-Associate and ATS-Armed Serv¬ ices. His chief interests in television, as set down in a recent member survey, are keyed as follows: Tele- A — Advertising Tele-B — Acting Tele-C — Business Consultant Tele-D — Camera Technique Tele-E — Directing Tele-F — Education Tele-G — Equipment or Supplies manufacture and sales Tele-H — Engineering Tele-I Make-Up Tele- J — Merchandising Tele-K — Motion pictures in advertising and television Tele-L — Programming Tele-M — Production Tele-N — Promotion Tele-P — Publishing Tele-Q — Public Relations Tele-R — Script Writing Tele-S — Set Design Tele-T- Telecasting Tele-U — Service and installations Tele-V — Studio design ACHER, DON, Director. Columbia Broad¬ casting System, Inc. 485 Madison Ave., New York 22. WI 2-2000. ATS-Charter. Tele-E, F, M. ACKERMAN, JEAN MARIE. Scriptwriter. Signal Corps Photo Center, and A. W. Kelly, 522 Fifth Avenue, New York 17. MU 2-0882. ATS-Charter. Tele-K, R. ALBER, DAVID O. Public Relations. David 0. Alber Associates, 654 Madison Ave., New York 21. RH 4-1681. ATS- Charter. Tele-Q. ALEXANDER, HENRY R. Film Editor. U. S. Army, Hotel Sutton, 330 E. 56th St., New York. AS 8-3500. ATS-Armed Services. Tele-D, K, M, T. ALICOATE, CHARLES A. Advance Tele¬ vision Pictures, Inc., 729 Seventh Ave., New York 19. BR 9-7117. ATS-Active. Tele-C, E, K, L, M. ALLEN, RICHARD. U. S. Army Signal Corps. 483 Montgomery St., Brooklyn, N. Y. PR 4-2257. ATS-Armed Services. Tele-B, D, E, K, M. ALSWANG, RALPH. Scenic Designer. 729 Greenwich Ave., New York 14. CH 2-7452. ATS-Active. Tele-J, S. ANDERSON, FREDERICK O. Account Ex¬ ecutive. Compton Advertising, Inc., 630 Fifth Ave., New York 20. Cl 6-2800. ATS-Charter. Tele-A. ANDREWS. RUTH. 58 W. 56th St., New York 19. ATS-Active. ANSEN, SYLVIA. Radio Time Sales. Radio Station WLIB, 850 Flatbush Ave., Brooklyn, N. Y. BU 7-5900. ATS-Char¬ ter. Tele-A, C, J, L, R. ARMSTRONG, JULIAN. Allen B. DuMont Laboratories, Inc., 515 Madison Ave., New York 22. PL 3-9800. ATS-Active. ARNOLD, HELEN T. John Wanamaker, 9th Street and Broadway, New York 3. ST 9-4700. ATS-Active. ARNOLD, JUDITH S. Public Relations. Ann R. Silver Associates, 551 Fifth Ave., New York 17. MU 2-8633. ATS- Active. Tele-R. ARNSTEIN, BENJAMIN S. Industrial Spe¬ cialist. War Department - Army Engi¬ neers. 120 Wall St., New York 5. WH 4-5500. ATS-Associate. Tele-C, J, M, N, Q. AYRES. ELIZABETH C. 37 Charles St., New York 14. ATS-Charter. Tele-E, L, M. BAKER. DOROTHY. Singer. R. D. 1, Box 147-C, Maple Rd., Riverside, Conn. ATS-Active. Tele-B, L, M, Q. BAKER. FAY. 310 E. 44th St., New York 17. ATS-Active. BALESTRIERI, VICTORIA. Outpost Repre¬ sentative, Office of War Information. 250 W. 57th St., New York 19. Cl 6- 4400. ATS-Active. Tele-D, F, I, M. BALLANTYNE, JOHN. President, Philco Radio Corporation, Tioga and “C” Sts., Philadelphia 34, Pa. ATS-Active. BALTIN, WILL. Secretary - Treasurer, Television Broadcasters Association, Inc., 500 Fifth Ave., New York 18. LA 4-4788. ATS-Active. Tele-Q. BALZ, D. ELEANOR. Television Producer. 132 East 36th St., New York. MU 4- 9014. ATS-Active. Tele-E, K, L, M. BARBINEL, ANN. Radio Director, Ann Barbinel Productions, 54 Riversde Dr., New York 24. EN 2-4351. ATS-Charter. Tele-E, I, L, R. BARLOW, PERRY. Artist. Westport, Conn. ATS-Active. BARRETT. LT. HALSEY V. Executive. USNR, Army-Navy Munitions Board, Fourth and “C” Streets, S. W., Wash¬ ington 4, D. C. Republic 7400. ATS- Charter. Tele-A, C, J, N, Q. BARRY, ROBERT G. Communications Chief, 3715 College Ave., Sacramento, Calif. ATS-Armed Services. BARTLETT, KENNETH G. University Radio Workshop, Syracuse 10, N. Y. ATS-Active. BATINCHOK. SGT. GEORGE. 306 E. 83rd St., New York 28. ATS-Active. BECKER, HAROLD. Eastern Editor, Radio News, 350 Fifth Ave., New York 1. WI 7-0400. ATS-Active. Tele-E, H, L, M, R. BERMAN, SYLVIA. Writer. 326 E. 70th St., New York 21. RE 4-6732. ATS- Active. Tele-E, F, L, M, R. BERNSOHN, AL. Television Publicist, Account Executive, David O. Alber As¬ sociates, 654 Madison Ave., New York 21. RH 4-1681. ATS-Charter. Tele-A, J, N, Q. BERSE, LENORE. Program Director, Sta¬ tion W2XJT. Macy’s Department Store, 34th Street and Herald Square, New York 1. CH 4-2000. ATS-Active. Tele- A, J, K, L, M. BETTINGER, HOYLAND. Writer, Director. 402 Summit Ave., Schenectady, New York. ATS-Active. BLATT, BERNARD. Agency Director, Gus- sow-Kahn Co., Inc., 200 Madison Ave., New York 16. AS 4-6795. ATS-Charter. Tele-A, K, L, M, R. BLITZ, WALLACE. 1254 Grant Ave., Bronx 56, N. Y. ATS-Associate. BLUM, ABRAHAM. Translator and Writer. U. S. Government. 1642 E. 19th St., Brooklyn, N. Y. ATS-Armed Serv¬ ices. Tele-C, F, R. BOHLKE, W. HOLLANDER. Commercial Engineering Manager, Radio Corpora¬ tion of America, Electronic Apparatus Section, Camden, New Jersey. Camden 8000. ATS-Charter. Tele-D, G, H, T. BONWIT, PVT. LEONARD. 4740 Wood¬ ward Ave., Detroit, Mich. ATS-Active. Tele-L. BOSWELL, WILLIAM B. 14 Nantucket Lane, Oceanside, New York. ATS-Ac¬ tive. BOTWINICK, T/5 LEONARD. U. S. Army, Hq. & Hq. Co., 3117th Sig. Sv. Bn., APO 244, c/o Postmaster, San Fran¬ cisco, Calif. ATS-Armed Services. Tele- K, F, L, Q, R. BOUILLET, J. E. Copywriter, N. W. Ayer & Son, Inc., 30 Rockefeller Plaza, New York 20. Cl 6-0200. ATS-Active. Tele- A, L. BOYLE, JAMES. American Forces Net¬ work, Hq. Co. Z Etousa Rearm. APO 413 c/o Postmaster, New York. ATS- Armed Services. BRADLEY. VIRGINIA MEYER. Producer, Director. 219 North Swarthmore Ave., Swarthmore, Pa. Swarthmore 2003-J. ATS-Active. Tele-E, L, M. BRAUNFELD, ARCHIBALD U. Certified Public Accountant, 535 Fifth Ave., New York 17. MU 2-6188. ATS-Charter. Tele-A, C. BREMER, FRANK V. Technical Director, Station WAAT, 11 Hill St., Newark 1, N. J. MI 2-6400. ATS-Charter. Tele-H. BRENT, RUDOLPH. Motion Picture Film Editor, 307 W. 79th St., New York 24. TR 4-0900. ATS-Active. Tele-E, F, K, M. BRIDGMAN. LT. LUTHER H. USNR. 188 Sullivan St., New York 12. ATS-Armed Services. 79 BROWNING. IRVING. Motion Picture Production, 70 W. 45th St., New York 19. MU 2-7491. ATS-Active. Tele-D, E, K, L, M. BRYAN, JULIEN. Producer, 291 W. 12th St., New York 14. WA 9-3917. ATS- Active. Tele-K. BUCHWALD, SAMUEL. Producer, Fa¬ mous Studios (Paramount Pictures), 25 W. 45th St., New York 19. BR 9-1600. ATS-Active. Tele-K. BUCKMAN, ENSIGN THOMAS R. USNR. U.S.S. PC 1084, FPO, New York, N. Y. ATS-Armed Services. BURGER, ALFRED G. Telenews Theatres, 32 E. 57th St., New York 22. PL 3-6277. ATS-Active. BURROUGHS. GORDON S. Federal Tele¬ phone and Radio Laboratories, 67 Broad St., New York 4. ATS-Charter. Tele- G, H. BUTTNER, H. H. President, Federal Com¬ munications Laboratories, 67 Broad St., New York 4. BO 9-3800. ATS-Active. BYERS, WILLIAM GALVIN. The Jam Handy Organization, 2821 E. Grand Blvd., Detroit, Mich. ATS-Active. CADDIGAN, LT. COLONEL JAMES L. 58 Berkeley St., Boston, Mass. ATS-Ac¬ tive. CARLSON, PAUL E. Merchandising Man¬ ager, Allen B. DuMont Laboratories, Inc., 515 Madison Ave., New York 22. PL 3-9800. ATS-Active. Tele F, J. CARLYSLE, MAE WAGNER. Advertising and Publicity Manager, Dictograph Products, Inc., 580 Fifth Ave., New York 19. BR 9-8540. ATS-Active. Tele- A, N, Q. CARTER. LEE. Walter Thornton Model. 420 Lexington Ave., New York 17. LE 2- 7215. ATS-Associate. Tele-A, B, D, M. CASS, LEWIS S. Sound Engineer, Para¬ mount News, 554 W. 43rd St., New York 18. ME 3-4300. ATS-Active. Tele- D, F, H, K, Q. CASSYD, SYDNEY. New York, N. Y. ATS-Armed Services. CHAMBERS, ALBERT B. Allen B. DuMont Laboratories, Inc., 2 Main Ave., Pas¬ saic, N. J. Passaic 3-1616. ATS-Active. CHOPNICK, MAX. Attorney, Conner and Chopnick, 9 E. 46th St., New York 17. WI 2-9190. ATS-Active. Tele A, C, K, P, Q. CHRISTENSEN, H. G. Television Produc¬ tion Consultant, Station WAAT; Asso¬ ciate Producer, Caravel Films, Inc., 730 Fifth Ave., New York 19. Cl 7-6112. ATS-Active. Tele-E, K, L, M, R. CLARK, JAY. Program Producer, Ted Bates, Inc., 630 Fifth Ave., New York 20. Cl 6-9700. ATS-Active. Tele-A, E, K, L, M. CLAWSON. FRANK. Maple Rd., River¬ side, Conn. ATS-Active. CLEMENTS. MAURICE. President, Cald- well-Clements, Inc., 480 Lexington Ave., New York 17. PL 3-1340. ATS-Charter. Tele-A, J, P. COHEN, SHIRLEY. Columbia Broadcast¬ ing System, Inc., 485 Madison Ave., New York 22. WI 2-2000. ATS-As¬ sociate. COLE. EDWARD C. Teacher, MFA. Yale University Dept, of Drama. 222 York St., New Haven, Conn. New Haven 7- 3131, Ext. 217. ATS-Charter. Tele-E, F, L, M, R. COLE, GEORGE H. President, Television Film Industries Corp., 340 Third Ave., New York 10. LE 2-6780. ATS-Charter. Tele-A, K, L, M, P. COLLINS. LORIN C. Producer, The Jam Handy Organization, 2821 E. Grand Blvd., Detroit, Mich. MA 2450. ATS- Active. Tele-A, J, K, M, N. COLLINS, MARION. Coordinator. 1440 Broadway, New York 18. PE 6-9800. ATS-Active. Tele-J. COLWELL, LARRY. Photographer, Larry Colwell Photographer, 38 E. 50th St., New York 20. PL 8-0581. ATS-Active. Tele-A, K, Q. COMER, VIRGINIA LEE. Consultant on Community Arts. Association of Junior Leagues of America. Waldorf-Astoria Hotel, New York 22. ATS-Charter. Tele-L, R. CONE, WILLIAM. 1030 E. 28th St., Brooklyn, N. Y. ATS-Active. COOLEY, LEE. Director of Television, Ruthrauff & Ryan, 405 Lexington Ave., New York 17. MU 6-6400. ATS-Char¬ ter. Tele-A, K, M. COOPER, MARGARET RICE. Televison Research, Paramount Pictures, Inc., 1501 Broadway, New York 18. BR 9- 8700. ATS-Active. COOPER, WYLLIS. Director of Televi¬ sion, Compton Advertising, Inc., 630 Fifth Ave., New York 20. Cl 6-2800. ATS-Active. CROFT, T/S RUSSELL W. Signal Corps Photo Center, 33-11 35th Ave., Long Island City 1, N. Y. AS 8-3500. ATS- Armed Services. CURRAN, CHARLES W. Motion Picture Writer, Producer, Director, 385 Madi¬ son Ave., New York 17. PL 8-1727. ATS-Active. Tele-K, L, M. D'ALESSIO, GREGORY. Artist. 314 W. 41st St., New York, N. Y. ATS-Active. DANZIG. JR., LT. A. USNR. Navy 100, FPO, New York, N. Y. ATS-Charter. DAVIS, T/S JACK R. Sound Mixer. Sig¬ nal Corps Photo Center, 33-11 35th Ave., Long Island City 1, N. Y. AS 8- 3500, Ext. 123. ATS-Armed Services. Tele-E, K, M, R. DAY, CHON. Artist. 22 Cross St., West¬ erly, Rhode Island. ATS-Active. DAY, DOUGLAS. General Manager, Bu¬ chanan & Co., Inc., 1501 Broadway, New York 18. ME 3-3380. ATS-Active. DAY, ROBERT J. Artist. 11 Cornwell St., Rockville Centre, N. Y. Rockville Centre 4098. ATS-Active. DEANE, ALBERT. Editor, Paramount In¬ ternational Films, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. Tele-A, Q, R. DELL, R. C. Artist. 1002 North Page St., Marengo, Ill. ATS-Active. DENNY, GEORGE V. President, Town Hall Inc., 123 W. 43rd St., New York 18. ATS-Active. DESSNER, CLYDE MATTHEW. Public Re¬ lations Director, Barbizon School of Fashion Modeling, 576 Fifth Ave., New York 19. BR 9-9156. ATS-Charter. Tele- E, L, Q, R. DE ZEVALLOS, MARY. Writer. Shelton Hotel, Lexington Ave. and 49th St., New York 17. WI 2-4000. ATS-Active. Tele-K, L, M, N. DICKLER, GERALD. PhM3/c, USN, Na¬ val Hospital, Brooklyn, N. Y. ATS- Armed Services. DINCIN, DIAN. Writer. Station WABF, 654 Madison Ave., New York 21. RE 4- 7457. ATS-Active. Tele-E, R. DON DERO, GERTRUDE. Overseas Radio and Stage Consultant, United Service Organization, 350 Fifth Ave., New York. PE 6-5400. ATS-Active. Tele-E, L, M, Q. DONOVAN, MALLOY. Film Distribution, Public Relations. 38 E. 36th St., New York 16. MU 4-8172. ATS-Active. Tele- F, K, L, Q. DORMAN, WILLIAM K. General Man¬ ager, John H. Perry Associates, 310 E. 45th St., New York 17, N. Y. MU 4- 1647. ATS-Charter. Tele-A. DOUGHERTY, ANGELINO B. Advertising Dept., Bloomingdale Bros., Inc., Lexing¬ ton Ave. at 59th St., New York 22. VO 5-5900. ATS-Active. DOUGHNEY, JOSEPH J. Assistant Treas¬ urer, Allen B. DuMont Laboratories, Inc., 1501 Broadway, New York 18. Room 1163. BR 9-8700. ATS-Charter. Tele-A, F, G, K, M. DOUGHNEY. T/S JOSEPH J., JR. c/o Regimental Paymaster, 26th Marines, F.M.F., c/o Postmaster, San Francisco, Calif. ATS-Armed Services. DUMONT, ALLEN B. President, Allen B. DuMont Laboratories, Inc., 2 Main Ave., Passaic, N. J. ATS-Active. DUNNING, R. DEL. Account Executive, Ruthrauff & Ryan, 405 Lexington Ave., New York 17. MU 6-6400. ATS-Active. Tele-A, G. DUPATY, FRANK. Explorers Club, 10 W. 72nd St., New York 23. ATS-Active. DURBAN, CHARLES J. Assistant Direc¬ tor of Advertising. U. S. Rubber Co., 1230 Avenue of the Americas, New York 20. Cl 7-5000. ATS-Active. EASTON, ANNELIS. Window Decorator, Bloomingdale Bros., Inc., Lexington Ave., and 59th St., New York 22. VO 5- 5900. ATS-Active. 80 EBEL, WILLIAM K. Vice-President in charge of Engineering, The Glenn L. Martin Co., Middle River, Md. ATS- Active. ECKSTEIN, JOHN H. Time, Inc., 9 Rock¬ efeller Plaza, New York 20. Cl 5-4400. ATS-Active. Tele-E, M, P. EDWARDS. JONATHAN. Director, Amer¬ ican Academy of Dramatic Arts, Car¬ negie Hall, Seventh Avenue at 57th St., New York 19. Cl 7-2630. ATS-Charter. Tele-E, F, I, M, R. EGERT, HELEN. 512 Fifth Ave., New York 18. EL 5-1294. ATS-Charter. EHALT, MRS. GEORGE S.. JR. Syndicate Store Merchandiser, 79 Madison Ave., New York 10. MU 3-5362. ATS-Active. Tele-M, N, P, Q. ENGEL, DAYE. 45 Fifth Ave., New York 3. ATS-Active. ESTABROOK, TED. American Film Cen¬ ter, 630 Fifth Ave., New York 20. ATS-Active. FAIR, CHARLES MAITLAND. Production Manager, Writer, Cedarhurst Play¬ house. Cedarhurst 4495. 34 E. 65th St., New York 21. ATS-Active. Tele-E, M, R. FAUST. JEROME. 627 W. 115th St., New York 25. ATS-Active. FELDSTEIN, PEARL F. Copywriter, R. H. Macy & Co., 34th St. and Herald Square, New York 1. CH 4-2000, Ext. 2362. ATS-Associate. Tele-A, E, L, N, R. FERRIS, EARLE. 41 Fifth Ave., New York 3. ATS-Active. FLORMAN, LT. ARTHUR. Signal Corps Photo Center, 35-11 35th Ave., Long Island City 1, N. Y. AS 8-3500. ATS- Armed Services. FLORY, JOHN. Motion Picture Producer and Director, Grant, Flory & Williams, 441 Lexington Ave., New York 17. MU 2-8127. ATS-Charter. Tele-E, F, K, L, T. FOSTER, ORVILLE. In charge of FM, South Bend Tribune Radio Station WSBT, South Bend, Ind. ATS-Charter. Tele-F. FOX. FONTAINE. Cartoonist. 1 W. Elm St., Greenwich, Conn. ATS-Active. FRANK, JAMES, JR. Sales Executive, Na- tional-Simplex-Bludworth, Inc., 356 W. 44th St., New York 18. Cl 5-6900. ATS- Active. Tele-G. FRANKLIN, DEL. Commercial Writer. Station WSRR, 270 Atlantic St., Stam¬ ford, Conn. Stamford 4-7575. ATS-As¬ sociate. Tele-A. FREEDLEY, GEORGE. Librarian, Theatre Collection of the New York Public Library, 476 Fifth Ave., New York 18. BR 9-1500. ATS-Active. Tele-F, P, R. FREEMAN, JOAN. Free-lance Advertis¬ ing. 17 E. 96th St., New York 28. AT 9- 3440. ATS-Active. Tele-G, M. FROHLICH, RICHARD P. Director of Public Relations, ASCAP, 30 Rocke¬ feller Plaza, Room 4507, New York 20. CO 5-7464. ATS-Active. Tele-L, N, Q. FROMER, JOSEPH. Supervisor, National Radio Service, 57 First Ave., New York 3. ATS-Charter. Tele-G, H. FROMM, LLOYD. Signal Corps, Camera Dept., Long Island City, N. Y. ATS- Armed Services. FUHRMANN, PHILIP. Sales Manager, DuMont Television Station WABD, 515 Madison Ave., New York 22. PL 3-9800. ATS-Active. FURSE, CORP. RUSSELL R. Signal Corps Photo Center, Astoria, Long Island. ATS-Armed Services. GANZ, WILLIAM P. Motion Picture Pro¬ ducer. 40 E. 49th St., New York, N. Y. EL 5-1444. ATS-Active. Tele-A, F, J, Q- GAUBERT, HELEN A. Bibliographical Re¬ searcher and Cataloguer. James F. Drake, Inc., 24 W. 40th St., New York 18. PE 6-2380. ATS-Charter. Tele-F. GENOCK, E. P. News Editor, Paramount News, 554 W. 43rd St., New York 18. ME 3-4300. ATS-Charter. Tele-F, H, M. GETTS, CLARK H. President, Clark H. Getts, Inc., 430 Park Ave., New York 22. PL 8-0910. ATS-Active. Tele-M, T. GILBERT. CAROLINE LEE. Research, Buchanan & Company, Inc., 1501 Broad¬ way, New York 18. ME 3-3380. ATS- Active. GILMOUR, CAPT. JOHN G. T. U.S.A. Signal Corps Service Center, Astoria, Long Island. ATS-Armed Services. GOLDBERG, LEON S. Sales Advertising Director. Smith-Gray Corp., 740 Broad¬ way, New York 3. GR 7-0055. ATS- Charter. Tele-A, J, N, Q. GOLDBERG, RUBE. Cartoonist. 140 W. 57th St., New York 19. ATS-Active. GOLDMARK. DR. PETER T. Columbia Broadcasting System, Inc., 485 Madison Ave., New York 22. WI 2-2000. GOLDSMITH, MURIEL. Automobile Old Timers, 45 E. 45th St., New York 17. MU 6-7266. ATS-Associate. Tele-B, K, L, Q. GOLDSTEIN, PAULINE. Paramount Pic¬ tures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. GOODWIN, BERNARD. Executive. Para¬ mount Pictures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. Tele-C. GORDON. DOROTHY. The New York Times, 229 W. 43rd St., New York 18. LA 4-1000. ATS-Active. GOULD, HARRIET. Writer and Publicist. 53 E. 93rd St., New York 28. AT 9- 9438. ATS-Active. Tele-E, K, L, M. GREENE. JEROME GEORGE. Promotion writer. Columbia Broadcasting System, Inc., 485 Madison Ave., New York 22. WI 2-2000. ATS-Active. Tele-A, C, J, L, N. GREW, AGNES M. President, Grew As¬ sociates, Inc., 9 Rockefeller Plaza, New York 20. Cl 6-5855. ATS-Active. Tele- M, Q, R. GRIFFIN, P. J. Vice President, Institutum Divi Thomae, 1842 Madison St., Cin¬ cinnati, Ohio. University 3460. ATS- Active. GRIFFIS, TONI HUGHES. Artist. 4 Sutton Square, New York 22. PL 5-7737. ATS-Charter. Tele-S. GROSS. R. H. 323 West 4th St., New York. ATS-Active. HAINES, MRS. FRANK D. Camp Hill Rd., Whitemarsh, Pa. ATS-Active. HALE, CHARLES G. W. Forest and Spruce Drives, East Northport, L. I. ATS-Active. HALLIDAY, JACKSON. Columbia Pic¬ tures Corp., 1438 Gower St., Holly¬ wood, Calif. HO 3181. ATS-Charter. Tele-E. HALPERN, DAVID HALE. Vice President, radio and television. Owen & Chappell, Inc., 595 Madison Ave., New York 22. PL 8-2400. ATS-Charter. Tele-A, K, L, M, Q. HALPIN, DAN D. Manager, Television Receiver Sales, Radio Corp. of America, RCA Victor Division, Front and Cooper Sts., Camden, N. J. Camden 8000. ATS- Charter. Tele-A, J, N. HAMMIL, JOEL S. Head of Radio Writ¬ er’s Dept., Music Corp. of America, 745 Fifth Ave., New York 22. WI 2-8900. ATS-Active. Tele-M, R. HAMMOND, LAURENCE. Producer-writer, “Keeping Up With the Wigglesworths.” 33 W. 51st St., New York 20. VO 5- 2000. ATS-E, F, M, Q, R. HARDY, KAY. Writer, Designer. 356 E. 57th St., New York 22. PL 8-1750. ATS- Active. Tele-A, F, R. HAUSER. FRANKLIN. The School of Radio Technique, Inc., RKO Bldg., Rockefeller Plaza, New York 20. Cl 7- 0193. ATS-Active. HELLER, LT. MARTIN H. Hq. 331st Bomb. Gp., APO 246, c/o Postmaster, San Francisco, Calif. ATS-Armed Services. Tele-A. HERMAN, ALBERT. 130 W. 12th St., New York 11. ATS-Active. HERMAN, JUSTIN. Writer. Paramount Pictures, 1501 Broadway, New York 18. BR 9-8700. ATS-Active. HERMAN. MARILYN L. Copywriter. Gimbel Bros., 33rd Street and Broad¬ way, New York 1. LO 5-1500. ATS- Associate. Tele-A, K, Q, R. HERTZ, JOHN, JR. Chairman of the Board, Buchanan & Co., 1501 Broadway, New York 18, N. Y. ME 3-3380. ATS- Active. HEWLETT. JOHN. Writer-director. U. S. Rubber Co., 1230 Avenue of the Amer¬ icas, New York 20. Cl 7-5000. ATS- Active. Tele-A, D, L, M, R. HILTON, NED. Artist. Esquire, 919 N. Michigan Ave., Chicago 11, Ill. ATS- Active. 81 HIRSCH, MURRAY. Advertising Execu¬ tive. Ray-Hirsch and Waterston Co., 7 E. 42nd St., New York 17. MU 2-1412. ATS-Charter. Tele-A. HIRSCHM ANN, IRA A. Vice President, Metropolitan Television, Inc., 654 Mad¬ ison Ave., New York 21. ATS-Active. HIRSH. MAJOR JOSEPH. Paramount Pictures, Inc. c/o Gene Martel, 1501 Broadway, New York 18. BR 9-8700. ATS-Armed Services. HODE, HAL. Executive, Columbia Pic¬ tures Corp., 729 Seventh Ave., New York 19. BR 9-7900. ATS-Active. Tele- J, K, L, N, Q. HOOPER, DICK. Radio Corp. of America, Camden, N. J. Camden 8000. ATS- Charter. Tele-E, N, Q. HOPE, BOB. Comedian. Paramount Pic¬ tures, Inc., 5451 Marathon St., Los Angeles, Calif. HO 2411. ATS-Active. HOWE, QUINCY. CBS News Commen¬ tator, Columbia Broadcasting System, Inc., 485 Madison Ave., New York 22. WI 2-2000. ATS-Active. HUGHES, FRANCES. 6 W. 52nd St., New York 19. ATS-Active. HUGHES. LAWRENCE M. Executive Edi¬ tor, Advertising Age, 330 W. 42nd St., New York 18. BR 9-6431. ATS-Charter. Tele-A, K, N, P, Q. HUNT, JOHN S. JR. Transmitter Sales, Allen B. DuMont Laboratories, Inc., 515 Madison Ave., New York 22. PL 3- 9800. ATS-Active. Tele-G. HUSTON. THEODORE JR. Ruthrauff & Ryan, Inc., 405 Lexington Ave., New York 17. MU 6-6400. ATS-Charter. HUTCHINSON. J. RAYMOND. Education¬ al and Pictorial Specialist. Dept, of State, Washington 25, D. C. Republic 5600. ATS-Charter. Tele-F. HUTCHINSON, THOMAS H. Television Producer. 16 Ervilla Drive, Larchmont, N. Y. ATS-Charter. HYLAND, EDWARD F. Cameraman, Sound Masters, Inc., 165 W. 46th St., New York 18. BR 9-4676. ATS-Active. Tele- D, E, K. ILSLEY, MYRTLE. Sales Promotion, Co¬ lumbia Broadcasting System, Inc., 485 Madison Ave., New York 22. WI 2-2000. ATS-Charter. Tele-A, F, P. ISRAEL, ARTHUR JR. Assistant to Presi¬ dent, Paramount Pictures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. Tele-G, K. JANKAY. STEPHEN. USNR. 672 Echo Park Ave., Los Angeles, Calif. ATS- Armed Services. Tele-L, M. JENKINS. EDITH. 4220 E. Olympic Blvd., Los Angeles 23, Calif. ATS-Associate. JERAULD. JAMES M. Editor, Box Office, 9 Rockefeller Plaza, New York 20. CO 5-6370. ATS-Active. Tele-A, G, K, P, Q. JOFFE, CONSTANTIN. Staff Member, Conde Nast Publications, Inc., 420 Lex¬ ington Ave., New York 17. PL 3-5266. Tele-A, K, L, M, N. JOHNSON, F. MERLE. Motion Pictures — Dept, of Public Relations, General Mo¬ tors Corp., 1775 Broadway, New York. Cl 7-6500. ATS-Active. JOHNSTON. MARK E. National Design Service, 96 Liberty St., New York 6. ATS-Active. JONES. BARBARA E. 55 Valley Rd., Bronxville, N. Y. Bronxville 2-3866. ATS-Active. Tele-A, E, F, L, M. JONES, REBA. Editor of The Wiar. Wo¬ men’s Institute of Audience Reaction, 9 Rockefeller Plaza, New York 20. Cl 6- 5855. ATS-Active. Tele-F, Q. JORDAN, EDWARD W. Radio Technician, Jordan Radio Service, Inc., 312 Halsey St., Newark 2, N. J. Main 2-6167-8. ATS-Active. Tele-U. JOYNER, SARA GROSS. Supervisor of Art, State Board of Education, State Office Bldg., Richmond 16, Virginia. ATS-Active. Tele-F. JURIN, MILTON I. Franklin Bruck Ad¬ vertising Corp., 1270 Avenue of the Americas, New York 20, N. Y. Cl 7- 7660. ATS-Charter. Tele-A, R. KALMUS, ALLAN H. Public Relations, National Broadcasting Company, 30 Rockefeller Plaza, New York 20. Cl 7- 8300. ATS-Active. Tele-P, Q. KALTENBORN, H. V. Radio News Com¬ mentator. 167 E. 64th St., New York 21. RE 4-3344. ATS-Active. KAPLAN, BORIS. Paramount Pictures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. KAPLAN, LT. BORIS. U. S. Army Signal Corps Photo Center, 35-11 35th Ave., Astoria, L. I. AS 8-3500. ATS-Armed Services. Tele-E, K, L, M. KATZ, OSCAR. Associate Director of Research, Columbia Broadcasting Sys¬ tem, Inc., 485 Madison Ave., New York 22. WI 2-2000. ATS-Active. KAVANAGH, JULIA. Columbia Broad¬ casting System, Inc., 485 Madison Ave., New York 22. WI 2-2000. ATS-Active. KAYE, GERALD O. Merchandise Man¬ ager, Bruno-New York, Inc., 460 W. 34th St., New York 1. ME 3-5716. ATS- Active. Tele-A, C, J, L, N. KELLMAN, NAOMI. Copywriter, Grey Advertising Agency, 166 W. 32nd St., New York 1. CH 4-3900. ATS-Charter. Tele-A, K, R. KENNETT, DON S. Broadcasting. Ken- nett, Brown, Lord & Co., 545 Fifth Ave., New York 17. MU 2-4218. ATS-Active. Tele-A, C, K. KING, A. LEWIS. Commercial Manager, Station WPAT, 1 Church St., Paterson 1, N. J. PEN 6-2945. ATS-Charter. Tele-A, C, E, K, M. KLEEMAN, LT. RICHARD. 320 E. 57th St., New York 22. ATS-Armed Services. Tele-F, L, M, T. KLEIN, SK 1c ARMIN EDMOND, USNR. 2800 — 44th St., S.E., Washington 20, D. C. ATS-Armed Services. KLEINMAN, CHARLES H. Commercial Engineer, Radio Corp. of America, RCA Victor Division, 411 Fifth Ave., New York 16. AS 4-7605. ATS-Charter. Tele- C, G, H, L, V. KLING, MEYER. 3230 Cruger Ave., Bronx 67, N. Y. ATS-Active. KNIGHT, PAUL. Program Manager, WPTZ. Philco Corp., Television Broad¬ casting Division, Tioga and “C” Streets, Philadelphia 34, Pa. Nebraska 5100. ATS-Active. Tele-D, E, F, L, M. KOBAK, EDGAR. President, Mutual Broadcasting System, 1440 Broadway, New York 18. PE 6-8600. ATS-Active. Tele-T. KOGEN, LAWRENCE GUY. USNR. Capi¬ tol Hotel, 51st St. and Eighth Ave., New York 19. Cl 6-3700. ATS-Armed Services. Tele-D, E, L, M. KORNFIELD, KURT. 30 Parcot Ave., New Rochelle, N. Y. ATS-Active. KRIEG, SAUL. Publicity Manager, Phil¬ lips H. Lord, Inc., 501 Madison Ave., New York 22. WI 2-2211. ATS-Charter. Tele-M, N, Q. KUGEL, FREDERICK A. Publisher. Televi¬ sion Magazine, 500 Madison Ave., New York 22. PL 3-5748. ATS-Charter. Tele-P. LA HAYE, JUDSON JR. 105 E. 15th St., New York 3. ATS-Armed Services. Tele-L, M, Q, R. LAJOIE, MARK B. 82 Second Ave., New¬ ark, N. J. ATS-Charter. LANDSBERG, KLAUS. General Manager, Station W6XYZ. Television Produc¬ tions, Inc., 5451 Marathon St., Holly¬ wood, Calif. ATS-Active. LANEY, H. LEACH. Publisher, Editor and Publisher, Times Tower, Times Square 18, N. Y. BR 9-3052. ATS- Active. Tele-P. LANNON, JAMES A. Ait Director, Buch¬ anan & Company, Inc., 1501 Broadway, New York 18. ME 3-3380. ATS-Active. Tele-A, E, K, S, T. LAWTON, DORIS H. Associate Editor, Advertising Age, 330 W. 42nd St., New York 18. BR 9-6431. ATS-Active. Tele- P, Q- LAYTON, GEORGIA LEE. Free-lance Radio Writer-director. 330 W. 23rd St., New York 11. CH 3-6238. ATS-Charter. Tele-A, E, L, M, N, R. LEAMON, JAMES. 1657 Broadway, New York 18. ATS-Charter. LEE, OLGA. Actor’s and Author’s Repre¬ sentative. Liebling-Wood, 551 Fifth Ave., New York 17. VA 6-3714. ATS- Charter. Tele-L. LEE, SELMA. Talent. William Morris Agency, 1270 Avenue of the Americas, New York 20. Cl 7-2160. ATS-Charter. Tele-L, M. LEHR, GLORIANNE. Free-lance Producer and Commentator; Fashion Show Direc¬ tor. Birchwood Lane, Great Neck, L. I. ATS-Active. Tele-B, E, J, M, R. 82 LEIGH, DOUGLAS B. Advertising. Doug¬ las Leigh, Inc., 630 Fifth Ave., New York 20. Cl 6-6155. ATS-Active. Tele- A, D. LERNER, PFC. JOSEPH. Director-writer, Columbia Pictures Corp., Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS- Armed Services. Tele-E, K, M, R. LESTER, W. M. Celanese Plastic Corp., 180 Madison Ave., New York 16. LE 2-5050. ATS-Active. Tele-G. LEVEN, JANET. Buchanan & Co., 1501 Broadway, New York 18. ME 3-3380. ATS-Active. LEVEY, ARTHUR. President, Scophony Corp. of America, 527 Fifth Ave., New York 17. MU 2-5960. ATS-Charter. LEVIN. BRUNS. 1001 President St., Brooklyn 25, N. Y. ATS-Active. LEVINE. PFC. HAROLD. 138-38 78th Dr., Flushing, L. I. ATS-Armed Services. LEVINE. JACK. Television Consultant. Stuart Machine & Tool Co., 350 Halsey St., Newark, N. J. Market 3-1367. ATS- Charter. Tele-C, G, L, M, T. LEWIS, DIONE. Producer-director. 7 E. 75th St., New York 21. WI 2-3600. ATS-Active. Tele-D, E, K, M, R. LIGGETT, S. S. Sales Manager, Universal Pictures, 913 Jersey Ave., Washington 1, D. C. Dist. 4505. ATS-Charter. Tele- K. LINDQUIST, C. ALBIN. Copywriter, Hum¬ bert & Jones, Advertising Agency, 228 E. 45th St., New York 17. MU 2-7570. ATS-Active. Tele-A, C, K, M, R. LURIE, DONALD. Paramount Pictures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. MAHONY, M. F. Ruthraulf & Ryan, Inc., 405 Lexington Ave., New York 17. MU 6-6400. ATS-Active. MAINWARING, MARY LOUISE. Produc¬ tion. Transfilm, Inc., 35 W. 45th St., New York 19. BR 9-6540. ATS-Active. Tele-K, L, M. MANILLA, JAMES N. Advertising. Comp¬ ton Advertising, Inc., 630 Fifth Ave., New York 20. Cl 6-2800. ATS-Charter. Tele-A, K. MANVILLE, RICHARD. Business Consult¬ ant. Richard Manville, Consultant on Mass Response. 1 E. 42nd St., New York 17. MU 2-0458. ATS-Active. Tele- A, C, L, P. MARSHALL, LAWRENCE K. President, Raytheon Manufacturing Co., 55 Chapel St., Newton, Mass. ATS-Active. MARTEL, GENE. Motion Picture Director, Paramount Pictures, Inc., 1501 Broad¬ way, New York 18. BR 9-8700. ATS- Active. Tele-E, L, M. MARTINI, ROLAND. Vice-President in Charge of Radio, Gardner Advertising Co., 9 Rockefeller Plaza, New York 20. CO 5-2000. ATS-Active. Tele-A, K, M. MARX, ERNEST A. General Manager, Television Division, Allen B. DuMont Laboratories, Inc., New York office: 515 Madison Ave., New York 22. PL 3-9800. ATS-Active. Tele-J, L, N, S. MASPERO, LUCILLE. 68-10 Continental Ave., Forest Hills, L. I. ATS- Associate. MAURER, CARL D. Engineer, Paramount Pictures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. Tele-H. MAY, D. W. Distributor, D. W. May Corp., 1 E. 42nd St., New York 17. MU 2-7924- ATS-Charter. Tele-G, J. MAYER, RICHARD I. Assistant Director. U. S. Army Signal Corps. Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS-Armed Services. Tele- A, B, E, L, M. MAYER, WILLIAM. Engineer, Mayfloor Products Corp., 34 Hillside Avenue, Katonah, N. Y. Katonah 726. ATS- Charter. Tele-D, G, H, K. MAYNES, RUTH LINDSAY. Radio Shop¬ ping News, Bloomingdale Bros., Inc., Lexington Ave. at 59th St., New York, N. Y. VO 5-5900. ATS-Active. Tele-A, J, L, R, T. McCALL, MARIE. Free-lance script writer. 225 W. 69th St., New York, N. Y. SU 7-1124. ATS-Active. Tele-E, M, R. McCLENEN, WILLIAM D. Research. Buch¬ anan & Company, Inc., 1501 Broadway, New York 18. ME 3-3380. ATS-Active. McCLURE, DON. Head, Television Bur¬ eau. N. W. Ayer & Son, 30 Rockefeller Plaza, New York 20. Cl 6-0200. ATS- Charter. Tele-A, E, J, K, L, M. McCOMAS, HENRY A. Boots Aircraft Nut Corp., New Canaan, Conn. ATS- Active. McDOUGAL, EDWARD F. 20 Clark St., Lynbrook, L. I. ATS-Charter. McFADDEN, DOROTHY L. President, Pro¬ ducer, Junior Programs, Inc., 22 Law¬ rence St., Newark 5, N. J. Market 3- 0770. ATS-Active. Tele-L, M, R. McHUGH, KEITH S. Vice President, American Telephone & Telegraph Co., 169 Broadway, New York 7. ATS-Ac¬ tive. McKAY, DOROTHY. Artist. 9 Christopher St., New York 14. CH 2-8832. ATS- Active. McKEON, J. G. 57-37 211th St., New York 25. ATS-Charter. McKEON, SGT. PETER T. Unit Head¬ quarters, Section C-7, C.A.A.F., Colum¬ bus, Miss. ATS-Armed Services. McMANUS, JOHN A. Editor, motion picture film. 103 E. 86th St., New York 28. AS 8-3500. ATS-Armed Services. Tele-D, E, K, T. MERRYMAN, PHILIP. National Broad¬ casting Company, 30 Rockefeller Plaza, New York 20. Cl 7-8300. ATS-Active. MICHEL, JO. Writer. 600 W. 111th St., New York 25. MO 2-8027. ATS-Active. Tele-E, M, R. MILLER, BERTON L. P. O. Box 260, Ulysses, Kansas. ATS-Active. MILLER, CHESTER H. Director of Radio, Calkins & Holden, 247 Park Ave., New York 17. WI 2-6900. ATS-Active. Tele- A, E, L, M, R. MOFFATT, MRS. ALFRED. Fashion Artist. Bloomingdale Bros., Inc., Lexington Ave. at 59th St., New York, N. Y. VO 5-5900. ATS-Active. Tele-A, D, I, S. MOGUL, EMIL. 250 W. 57th St., New York 19. ATS-Charter. MONETT, NEG. Sci'ipt writer. General Delivery, Frankfort, Michigan. ATS- Active. Tele-E, L, M, R. MONK, RICHARD C. Salesman, Allen B. DuMont Laboratories, Inc., 515 Madison Ave., New York 22. PL 3-9800. ATS- Active. Tele-G, J. MORANGE, EDWARD A. Artist. Morange Studios, 530-532 W. 47th St., New York 19. Cl 6-7757. ATS-Charter. Tele-M, N, R, S. MORGAN, OSCAR A. Executive, Para¬ mount Pictures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. Tele-J, K, L, M, T. MORRIS, ARTHUR. Zenith Radionics Corp. of New York, 350 Fifth Ave., New York 1. PE 6-6877. ATS-Active. Tele-G, J. MORRIS, WILLIAM. President, William Morris Agency, Inc., 1270 Avenue of the Americas, New York 20. Cl 7-2160. ATS-Active. MORRIS, WILLIAM J. Production Super¬ visor of Motion Pictures. J. Walter Thompson Co., 420 Lexington Ave,, New York 17. MU 3-2000. ATS-Charter. Tele-A, E, K, M. MOUNT, LT. ROBERT H. Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. ATS-Armed Services. MUIR, PFC. E. ROGER. Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. ATS-Armed Services. MURRAY, PATRICIA HERNON. Associate Editor, TV, Telecasting Publications, Inc., 103 Park Ave., New York 17. MU 4-1562. ATS-Active. Tele-B, M, R. MURRAY. RICHARD F. Asst. General Manager, ASCAP, 30 Rockefeller Plaza, New York 20. CO 5-7463. ATS-Active. MYER, DWIGHT A. Engineer, Westing- house Radio Stations, Inc., 1619 Wal¬ nut St., Phila., Pa. ATS-Charter. NAGLE, EDWARD. Paramount News, 544 W. 43rd St., New York, N. Y. ME 3- 4300. ATS-Active. NATHANSON, PVT. ALBERT. Asst. Mo¬ tion Picture Producer, Co. M, 127th Inf. APO 32, c/o Postmaster, San Francisco, Calif. ATS-Armed Services. NELSON, BETTY. 210 Riverside Drive. New York 25. ATS-Active. 83 NELSON, RAYMOND D. Vice President in charge of Television, Charles M. Storm Co., 50 E. 42nd St., New York 17. MU 6-2820. ATS-Charter. NOBLE, JOSEPH VEACH. Cinematog¬ rapher. Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS-Armed Services. Tele- A, D, E, K, M. NOBLES, CHARLES E. Radar Engineer, Westinghouse Electric Corp., 200 W. Baltimore St., Baltimore, Md. ATS- Active. NORCROSS, STERLING E. Sales Engi¬ neer. 35 Walnut St., Bloomfield, N. J. Bloomfield 2-1955. ATS-Active. Tele-A, J, K, N. O'MALLEY, WILLIAM. Cartoonist. 4188 Park Blvd., Oakland 2, California. ATS- Active. ORIOLO, JOSEPH. Famous Studios, 25 W. 45th St., New York 19. ATS-Active. PARTINGTON. T/S JACK A. JR. 3229 Signal Photo Prod. Det., Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS- Armed Services. Tele-A, L. PATTERSON, JEANNE. Secretary, Charles M. Storm Co., 50 E. 42nd St., New York 17. MU 6-2820. ATS-Active. Tele-D, M, R, S. PEIRCE, EVELYN BARNES. Head of Day Time Radio, Compton Advertising, Inc., 630 Fifth Ave., New York 20. Cl 6-2800. ATS-Charter. Tele-D, E, L, M. PENTLARGE, ALICE. Co-moderator, pro¬ ducer, “What’s On Your Mind?” Sta¬ tion WQXR. 320 E. 57th St., New York 22. LA 4-1000. ATS-Charter. Tele-F, L, M, N, T. PERLSTEIN, ED. Executive, Lee Letter Service, 19 W. 44th St., New York 18. VA 6-4137. ATS-Active. Tele-A, N, Q. PETT, LEWIS E. Engineer, Allen B. Du¬ Mont Laboratories, Inc., 515 Madison Ave., New York 22. PL 3-9800. ATS- Active. Tele-G, J, Q. POPPELE, JACK. Chief Engineer, Radio Station WOR, 1440 Broadway, New York 18. PE 6-8600. ATS-Active. PORTER, PAUL. Chairman, Federal Com¬ munications Commission, Washington 25, D. C. ATS-Active. POWEL, LYDIA. Teachers’ College, 525 W. 120th St., New York 27. ATS-Ac- tive. POWER, DR. LEONARD. Educational Con¬ sultant. 2 W. 45th St., New York 18. VA 6-0600. ATS-Charter. Tele-F, G, J. PRICKETT, CHARLES F. Manager, Pasa¬ dena Playhouse, 39 S. El Molino Ave., Pasadena 1, Calif. ATS-Active. QUIGLEY, MARTIN, JR. Associate Editor, Quigley Publishing Co., 1270 Avenue of the Americas, New York 20. Cl 7-3100. ATS-Active. RAIBOURN, PAUL. President, Television Productions, Inc. ; Economist, Para¬ mount Pictures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. RAMPELL, ELEANOR. 10 Monroe St., New York 2. ATS-Active. REED. PFC. HOWARD. 969 Carroll St., Brooklyn, N. Y. ATS-Armed Services. REIN ACH, MARY. 19 Heathcote Rd., Scarsdale, New York. ATS-Active. REINHARDT, GEORGE N. Motion picture cameraman. U. S. Army Signal Corps, 105 E. 192nd St., New ‘York 58. ATS- Armed Services. Tele-K, T. RICHARDSON, GEORGE EDWARD. Buch¬ anan & Co., Inc., 1501 Broadway, New York 18. ME 3-3380. ATS-Active. Tele-A. RICHARDSON, T/S ROBERT T. Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS-Armed Services. RICKENBACHER, PAUL A. Director of Radio and Television, Foote, Cone & Belding, 247 Park Ave., New York 17. WI 2-6600. ATS-Active. Tele-A. RIPPEN, T/S ROBERT L. Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS- Armed Services. RIVERA, S/SGT. ART. Producer, news¬ caster, announcer, Armed Forces Radio, 224 W. 57th St., New York, N. Y. Cl 6- 4400. ATS-Armed Services. Tele-A, E, K, L, M. ROBERTSON, BRUCE. Editor, Broadcast¬ ing Magazine, 250 Park Ave., New York 17. PL 5-8355. ATS-Charter. Tele-A, P. ROBINSON, JAMES E. Consultant, Air Pictures, Inc., and American Optical Co., 19 Doat St., Buffalo 11, N. Y. LI 5111. ATS-Active. Tele-A, C, H. ROCKAFELLOW, RALPH. Writer, Buch¬ anan & Co., Inc., 1501 Broadway, New York 18. ME 3-3380. ATS-Active. Tele- A, M, N, R. ROSEN, NORMAN. Television Director, J. Walter Thompson Co., 420 Lexington Ave., New York 17. MU 3-2000. ATS- Charter. Tele-A, C, E, L, R. ROSENBERG, EMANUEL. Transamerican Broadcasting and Television Corp., 1 E. 54th St., New York, N. Y. ATS-Active. ROSENTHAL. JEAN. Theatre Production Service, Inc., 1430 Broadway, New York 18. LO 5-7039. ATS-Active. Tele- L, M, S. RUBENSTEIN, MARION. 30 Clinton St., Newark 2, N. J. ATS-Active. RUDOLPH, ALAN G. 340 W. 57th St., New York, N. Y. ATS-Active. SAFTLER, HAROLD B. 2600 Briggs Ave., New York 58. ATS-Active. Tele-A, L, M, N. SARNOFF, BRIG. GENERAL DAVID. Presi¬ dent, Radio Corporation of America, 30 Rockefeller Plaza, New York 20. CO 5- 5900. ATS-Active. SCHIFFM AN, BLANCHE E. 996 Carroll St., Brooklyn 25. ATS-Active. SCHLOSSER, HENRY H. Toy Designer, Mfr. Box 222, Roslyn, N. Y. Wheatley Hills 1505. ATS-Active. Tele-S. SCHMIDT, GEORGE LEROY. Newsreel cameraman and engineer, Pathe News, Inc., 625 Madison Ave., New York 22. PL 3-4400. ATS-Active. Tele-D, G, H, K. SCHMIT, D. F. Director of Engineering, Radio Corporation of America, RCA Victor Division, Camden, N. J. ATS- Active. SCHNEIDER, PFC MELVIN M. Columbia Pictures Corp., 729 Seventh Ave., New York 19. BR 9-7900. ATS-Armed Services. Tele-A, D, K, M, R. SCHNEIDER. WILLIAM H. Donahue & Coe, Inc., 1270 Avenue of the Americas, New York 20. CO 5-4252. ATS-Active. Tele-A, D, K, L. SCHUSTER, CSp(P) ALBERT C. Instruc¬ tor, sound recording. U.S.N.R. U.S. Naval Photo Science Laboratory, Ana- costia, D. C. FR 1400. ATS-Armed Ser¬ vices. Tele-D, H, K, M. SCHWARTZ, LEONARD F. 317 W. 93rd St., New York 25. ATS-Charter. Tele- E, M. SEIDMAN, JULES. International Club, Columbia University, New York 27. ATS-Active. SEMRAU, SGT. WALTER S. Sqd. K, 2135th A.A.F. B.U., Tyndall Field, Panama City, Fla. ATS-Armed Services. Tele- A, J, N. SERENO, PAOLO. Producer. 90 Bank St., New York 14. CH 3-1647. ATS- Active. Tele-A, E, L, M. SHANE, IRWIN A. Editor-Publisher, Television Workshop, Televiser Maga¬ zine, 11 W. 42nd St., New York 18. LO 5-1683. ATS-Charter. Tele-L, P. SHELDON, JAMES. Radio director-writer, MacFarland Aveyard & Co., 10 Rocke¬ feller Plaza, New York 20. Cl 6-2890. ATS-Active. Tele-A, E, M, R. SHERMAN, HARRY. Editor, Internation¬ al Projectionist, 19 W. 44th St., New York 18. MU 2-2948. ATS-Active. SHORTT, HUBERT L. President, Polytron Corporation, 133 Martine Ave., White Plains, N. Y. White Plains 8608. ATS- Active. Tele-G, H. SHUPERT, GEORGE T. Television Execu¬ tive, Paramount Pictures, Inc., 1501 Broadway, New York 18, N. Y. BR 9-8700. ATS-Charter. SIEGEL, CHARLES. Pilot. 61 Nesmith St., Lawrence, Mass. ATS-Active. Tele-A, L, M, N. SIMMONS, IRA H. Motion Picture Pro¬ ducer. 542 Fifth Ave., New York, N. Y. ATS-Active. SIMMONS. T/5 STANLEY H. 3908 S. Sv. Bn. (Photo GHQ), APO 887, c/o Post¬ master, New York, N. Y. ATS-Armed Services. 84 SKINNER, CHARLES E. Motion Picture Producer-director. U. S. Army Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS-Armed Services. Tele-A, C, E, K, M. SMALLEY, FRANK M. Administrative Assistant. 4 Soldiers Place, Buffalo, York 19. Cl 6-5280. ATS-Active. SMITH, FLETCHER. Producer of Ani¬ mated Motion Pictures, Fletcher Smith Studios, Inc., 1585 Broadway, New York 19. Cl 6-5280. ATS-Active. SMITH. K. R. 250 W. 54th St., New York, N. Y. ATS-Active. SMITH, RICHARD E. Make-up Artist, NBC Television, 30 Rockefeller Plaza, New York 20, N. Y. Cl 7-8300. ATS- Active. Tele-I. SOBOL, EDWARD. Television Producer, NBC Television, 30 Rockefeller Plaza, New York 20, N. Y. Cl 7-8300. ATS- Charter. SOLMS, ERWIN M. Writer. 530 E. 90th St., New York. AT 9-3219. ATS-Active. SOUTHCOMB, HAROLD J. 10 Park Place, Metuchen, N. J. ATS-Charter. SOZIO, SANTINO R. 630 Fifth Ave., New York 20. Member O.S.S. ATS- Active. Tele-A, K. SPEER. CHARLES C. Radio Script Writer, 7712 — 35th Avenue, Jackson Heights, L. I., N. Y. NE 9-4621. SPENCER, DON. Televised Sports, Inc., 271 Madison Ave., New York 16. MU 5-7880. ATS-Active. Tele-A, T. STASHEFF, EDWARD. Teacher of Radio and Television. Station WNYE, 29 Fort Greene Place, Brooklyn 1. ST 3-0120. ATS-Active. STEEN, AL. Film Daily, 1501 Broadway, New York 18. BR 9-7117. ATS-Active. STEINER, RICHARD P. Director of Mar¬ ket Research, General Cable Corp., 420 Lexington Ave., New York 17. MO 4- 2920. ATS-Charter. Tele-C, G, J. STERN, ALFRED. Promotion Manager, Radio-Craft Magazine, 25 W. Broad¬ way, New York 7. RE 2-9690. ATS- Active. Tele-A, G, J, N, P. STERN, BILL. National Broadcasting Co., 30 Rockefeller Plaza, New York 20. Cl 7-8300. ATS-Active. STEWART, DONALD A. Salesman Execu¬ tive, Allen B. DuMont Laboratories, Inc., 515 Madison Ave., New York 22. PL 3-9800. ATS-Active. Tele-A, C, G, K, Q. STEWART, W. S. R.C.A.F. Repat. Depot, Rockcliffe, Ottawa, Ontario. ATS-Ac¬ tive. STOFFI, MICHAEL. 19 Stilwell Ave., Stamford, Conn. ATS-Active. STOOPACK, MURRAY. Cable Editor, Netherlands Indies News Agency, 50 Rockefeller Plaza, New York 20, CO 5-3875. ATS-Active. Tele-E, F, M, Q, R. SUBOTSKY, MILTON. Motion Picture Writer-director. 1859 — 53rd St., Brook¬ lyn, N. Y. ATS-Armed Services. Tele- E, F, K, M, R. SWENSON, WALTER J. Engineer, Para¬ mount Pictures, Inc., 1501 Broadway, New York 18. BR 9-8700. ATS-Active. Tele-H. SWIFT, LELA. Assistant Director-writer, CBS Television, 15 Vanderbilt Ave., New York 17. MU 6-6340. ATS-Charter. Tele-E, R. TAYLOR. HERBERT E. JR. Director of Transmitter Sales, Allen B. DuMont Laboratories, Inc., 515 Madison Ave., New York 22, N. Y. PL 3-9800. ATS- Active. Tele-D, G, J, K, N. TAYLOR, RONALD P. Smith, Taylor & Jenkins, Inc., 223 Fourth Ave., Pitts¬ burgh 22, Pa. Atlantic 9312. ATS- Charter. Tele-A, E, L, M, R. TEMPLE, MARGUERITE. Assistant Radio Director, American Society for Russian Relief, 5 Cedar St., New York 5. WH 3-2460. ATS-Charter. Tele-B, E, K, L, M. THOMAN, CLARENCE W. Director of Special Events, Philco Corp., Television Broadcasting Div., Tioga and “C” Sts., Philadelphia 34, Pa. Nebraska 5100. ATS-Active. Tele-D, E, F, L, M. THOMAS. LOWELL. Author, Radio News Commentator, 30 Rockefeller Plaza, New York 20, N. Y. ATS-Active. THOMPSON. LUCILLE A. 17169 Green- lawn Ave., Detroit 21, Mich. ATS- Charter. TIMBER, ARLINE. Writer. 260 W. 73rd St., New York 23. ATS-Active. Tele-R. TOBIAS, CPL. ROBERT D. 263 Griffen Ave., Scarsdale, N. Y. ATS-Armed Services. Tele-E, K. TROTTA, GERI. Mademoiselle, 122 E. 42nd St., New York 17. MU 3-8910. ATS-Active. TULIN, MIRIAM. Production Manager, Station W2XJT. 440 W. 34th St., New York 1. ATS-Active. Tele-E, L, M. TURNER, T/SGT. CHARLES L. Film Edi¬ tor and Equipment Supervisor. Signal Corps Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS-Armed Services. Tele-E, L, M. USKALI, WILLIAM. Manager N. Y. Office, The Jam Handy Organization, 1775 Broadway, New York 19. CO 5-7144. ATS-Active. Tele-F, K, M, Q, R. VALENTINO, THOMAS J. Manager, Thomas J. Valentino, Inc., 1600 Broad¬ way, New York 19. Cl 6-4675. ATS- Active. Tele-C, K, M. VAN KLEEK, MARTHA LOUISE. 2930 Northern Blvd., Manhasset, N. Y. ATS- Associate. VILAS, WILLIAM K. Director, Motion Picture Department, J. M. Mathes, Inc., 122 E. 42nd St., New York 17. LE 2- 7450. ATS-Active. Tele-A, C, J, K, L. VOLGER, GEORGE J. Assistant Manager, Art Rush, Inc., NBC Bldg., Hollywood 28 Calif. HI 5161. ATS-Charter. Tele- A, F, L, M. VREELAND, FRANK. Writer, United Art¬ ists Corporation, 729 Seventh Ave., New York 19. BR 9-7300. ATS-Charter. Tele-M. WAGMAM, DAVE. Sales Manager, Bruno- New York, 460 W. 34th St., New York 1. ME 3-5716. ATS-Active. Tele-G, J. WALLACE, LEE. Executive Producer, Lee Wallace Teleshows, 56 East 53rd St., New York 22. EL 5-6794. ATS-Active. WALSH. M. A. Engineer, Radio Corpora¬ tion of America Manufacturing Co., 26 Pocantico Rd., Ossining, N. Y. ATS- Armed Services. Tele-G, H, K. WARING, NANCY LEE. Publicity, Allan Metzer, Inc., 509 Madison Ave., New York 22. PL 3-7647. ATS-Active. Tele- E, R. WATERS, NORMAN D. Advertising, Nor¬ man D. Waters & Associates, Inc., 1140 Broadway, New York 1. CA 5-7430. ATS-Charter. Tele-A, L. WEIL, CHESTER. Head, Television Dept., King Features Syndicate, 235 W. 45th St., New York 18. ATS-Active. WEIL, JOSEPH. 30 Rockefeller Plaza, New York 20. ATS-Active. WEINER, IRVING R. Film Editor, U. S. Maritime Commission, 45 Broadway, New York 7. WH 3-8000. ATS-Active. Tele-E, K, M, T. WEISS, EDWARD B. Advertising Agency Consultant, Twin Brook Farm, Sher¬ man, Conn. ATS-Active. WERBLOW, JAMES. Secretary and Sales Manager, Polygraphic Co. of America, 310 E. 45th St., New York 17. MU 4- 1200. ATS-Active. WEST, MARY LEONARD. 4 Grove Court, New York 14, N. Y. ATS-Associate. WHATMORE, KENNETH N. Television Director, J. D. Tarcher & Co., 630 Fifth Ave., New York 20. Cl 6-2626. ATS- Charter. Tele-A, E, M, R, S. WIDLUND, DON E. Motion picture dis¬ tribution, J. Walter Thompson Co., 420 Lexington Ave., New York 17. MU 3- 2000. ATS-Charter. Tele-A, J, K, M. WILCKEN, DORATHA. Promotion, Cluett Peabody & Co., 40 Worth St., New York 13. BA 7-2082. ATS-Active. Tele-A, J. WILLARD, HARRY W. Manager, The¬ atrical Division, The Jam Handy Or¬ ganization, 2900 E. Grand Blvd., Detroit 11, Michigan. Madison 2450. ATS-Active. Tele-A, K, L, M, Q. WILLIAMS, ANNIE LAURIE. 118 E. 40th St., New York 17. ATS-Active. WILSON. GLENN. Writer. 233 W. 14th St., New York 11. ATS-Active. WITHE. STANLEY F. Manager, Adver¬ tising and Publicity, Aetna Life & Affiliated Cos., 151 Farmington Ave., Hartford, Conn. Hartford 2-9141. ATS- Active. Tele-A, F, K, N, Q. WOLFE, WINIFRED. Ward Wheelock Co., Inc., 444 Madison Ave., New York 17. PL 3-7120. ATS-Associate. ZURHORST, CHARLES S. President, Charles S. Zurhorst Radio & Public Relations, 1627 “K” Street, N. W., Washington 6, D. C. District 3250. ATS-Charter. Tele-C, M, N. Q. 85 TELEVISION STATIONS AND PENDING APPLICATIONS This list includes commercial and experimental stations — both operating and pro¬ posed— as of November 1, 1945. The majority have applications for construction permits pending before the Federal Communications Commission. CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL Chicago, III. Balaban & Katz Corp. No. 4 WBKB 4kw 2kw New York, N. Y. Columbia Broadcasting System, Inc. No. 2 WCBW 3kw 2.5kw COMMERCIAL STATIONS < NOW ON THE AIR New York, N. Y. Allen B. DuMont Laboratories, Inc. No. 5 WABD 4kw lkw New York, N. Y. National Broadcasting Co., Inc. No. 4 WNBT 5.2kw 2.2kw Schenectady, N. Y. General Electric Co. No. 4 WRGB 40w 20kw > Philadelphia, Pa. Philco Radio & Television Corp. No. 3 WPTZ 3kw 3kw Los Angeles, Cal. Don Lee Broadcasting System No. 1 W6XAO lkw 1 50w Los Angeles, Cal. Television Productions, Inc. No. 4 W6XYZ 4kw lkw EXPERIMENTAL STATIONS < (peak) NOW ON THE AIR Chicago, III. Zenith Radio Corp. No. 1 W9XZV lkw lkw Jamaica, L. 1., N. Y. William B. Still No. 13 W2XJT 400w 1 0Ow tr/as Jamaica Radio & Television Co. CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS CALIFORNIA Fresno J. E. Rodman No. 2 4 kw 2kw Commercial construction permit application Hollywood Don Lee Broadcasting System No. 1 KTSL 4kw 2kw Commercial construction permit granted Hollywood Fox West Coast Theatre Corp. No. 5 — — Commercial construction permit application Hollywood Warner Bros. Broadcasting Corp. No. 3 4kw 3kw Commercial construction permit application Los Angeles American Broadcasting Company, Inc. No. b 4kw 3k w Commercial construction permit application Los Angeles Earle C. Anthony, Inc. No. 6 4kw 2kw Commercial construction permit application Los Angeles Consolidated Broadcasting Corp., Ltd. No. 7 4 kw 3kw Commercial construction permit application Los Angeles Don Lee Broadcasting System No. 1 W6XAO lkw ISOw Operating experimental station Los Angeles Don Lee Broadcasting System (318- 330mc) W6XDU 6.5w 50w Television relay with W6XAO Los Angeles Hughes Productions, Division of Hughes Tool Co. No. 2 4 kw 2k w Commercial construction permit application Los Angeles Metro-Goldwyn-Mayer Studios, Inc. No. 8 4kw 2kw Commercial construction permit application Los Angeles National Broadcasting Co. No. 4 lkw 3kw Commercial construction permit application Los Angeles Television Productions, Inc. No. 2 KTLA 4kw lkw Commercial construction permit application Los Angeles Television Productions, Inc. No. 4 W6XYZ 4kw (peak) lkw Operating experimental station Los Angeles Television Productions, Inc. No. 11 & 12 W6XLA 1 0Ow (peak) — Portable-Mobile. Experimentally licensed as television relay with W6XYZ Los Angeles The Times-Mirror Co. No. 5 40kw 20kw Commercial construction permit application Riverside The Broadcasting Corp. of America No. 3 4kw 3kw Commercial construction permit application Los Angeles Co. Pacific Coast Broadcasting Co. No. 6 — — Experimental construction permit application San Francisco The Associated Broadcasters, Inc. No. 4 4kw 3kw Commercial construction permit application San Francisco Television Productions, Inc. No. 4 25kw 25kw Commercial construction permit application San Francisco Don Lee Broadcasting System No. 1 4kw 2kw Commercial construction permit application San Francisco Hughes Productions. Division of Hughes Tool Co. No. 2 4kw 2kw Commercial construction permit application Stockton E. F. Peffer No. 3 4kw 3kw Commercial construction permit application 86 CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS COLORADO Denver KLZ Broadcasting Co. No. 3 4kw 3kw Commercial construction permit application CONNECTICUT Booth Hill The Connecticut Television Company No. 8 4kw 2kw Commercial construction permit application Hartford The Travelers Broadcasting Service Corp. No. 3 4kw 3kw Commercial construction permit application Hartford The Yankee Network, Inc. No. 9 4kw 2k w Commercial construction permit application DELAWARE Wilmington WDEL, Inc. DISTRICT OF COLUMBIA No. 1 4kw 3kw Commercial construction permit application Washington, D. C. Bamberger Broadcasting Service, Inc. No. 4 lkw 3k w Commercial construction permit application Washington, D. C. Capital Broadcasting Co. No. 6 4kw 3kw Commercial construction permit application Washington, D. C. Allen B. DuMont Laboratories, Inc. No. 1 400w 200w Commercial construction permit application Washington, D. C. Allen B. DuMont Laboratories, Inc. To be assigned W3XWT lkw 1 kw Experimental construction permit Washington, D. C. Marcus Loew Booking Agency No. 8 4kw 2kw Commercial construction permit application Washington, D. C. National Broadcasting Co., Inc. No. 4 4kw 2kw Commercial construction permit application Washington, D. C. Eleanor Patterson, tr/as The Times Herald No. 8 — — Commercial construction permit application Washington, D. C. Philco Radio and Television Corp. No 4 — — Commercial construction permit application Washington, D. C, Scripps-Howard Radio, Inc. No. 1 4kw 3kw Commercial construction permit application Washington, D. C. The Evening Star Broadcasting Co. No. 6 — — Commercial construction permit application FLORIDA Jacksonville Jacksonville Broadcasting Corp. No. 1 4kw lkw Commercial construction permit application Miami Beach A. Frank Katzenstine No. 2 4kw 2kw Commercial construction permit application ILLINOIS Chicago American Broadcasting Co., Inc. No. 6 4kw 2kw Commercial construction permit application Chicago Balaban & Katz Corp. No. 2 W9XBK 4kw 2kw Experimental license Chicago Balaban & Katz Corp. (384- 396mc) W9XBB 1 Ow — Experimental license. Television relay with W9XBK. Portable-Mobile Chicago Balaban & Katz Corp. No. 11 & 12 W9XBT 43w — Experimental license. Television relay with W9XBK. Portable-Mobile Chicago Balaban & Katz Corp. (384- 396mc) W9XPR lOw — Experimental license Chicago Balaban & Katz Corp. No. 4 WBKB 4kw 2kw Operating commercial station Chicago Johnson Kennedy Radio Corp. No. 7 lkw lkw Commercial construction permit application Chicago National Broadcasting Co., Inc. No. 4 lkw 3kw Commercial construction permit application Chicago Raytheon Manufacturing Co. No. 1 40kw 20kw Commercial construction permit application Chicago WGN, Inc. No. 4 40kw 20kw Commercial construction permit application Chicago Zenith Radio Corp. No. 1 W9XZV lkw lkw Operating experimental station Chicago Zenith Radio Corp. To be assigned W9XZC lkw ( peak 1 lkw Experimental construction permit Chicago Zenith Radio Corp. No. 1 WTZR 2kw 2kw Commercial construction permit granted » INDIANA Fort Wayne Farnsworth Television & Radio Corp. To be assigned W9XFT 4kw (peak) 6kw Experimental construction permit Indianapolis The Wm. H. Block Co. No. 1 4kw 3k w Commercial construction permit application Indianapolis Capitol Broadcasting Corp. No. 3 4kw 3kw Commercial construction permit application Indianapolis Indianapolis Broadcasting, Inc. No. 5 4kw 3k w Commercial construction permit application Indianapolis P. R. Mallory & Co., Inc. To be assigned W9XMT 600w (peak) 1 OOw Experimental construction permit Indianapolis WFBM, Inc. No. 2 4kw 3kw Commercial construction permit application 87 CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS W. Lafayette Purdue University No. 3 W9XG 750w 750w Experimental construction permit IOWA Ames Iowa State College of Agriculture and Mechanic Arts No. 3 4kw 3kw Commercial construction permit application Iowa City State University of Iowa No. 1 & 12 W9XUI 1 OOw — Experimental license KENTUCKY Louisville WAVE, Inc. No. 1 4kw 3kw Commercial construction permit application LOUISIANA New Orleans Loyola University No. 6 4kw 3kw Commercial construction permit application New Orleans Maison Blanche Co. No. 1 4kw 3kw Commercial construction permit application MARYLAND Baltimore Hearst Radio, Inc. No. 6 4kw 3kw Commercial construction permit application Baltimore Maryland Broadcasting Co. No. 3 4kw 2kw Commercial construction permit application Baltimore The Tower Realty Co. No. 4 4kw 3kw Commercial construction permit application Baltimore Jos. M. Zamoiski Co. No. 6 — — Commercial construction permit application MASSACHUSETTS Boston E. Anthony & Sons, Inc. No. 2 25kw 1 2.5kw Commercial construction permit application Boston Allen B. DuMont Laboratories, Inc. No. 4 4kw 2kw Commercial construction permit application Boston Filene’s Television, Inc. No. 10 (letter) 40kw 20kw Commercial construction permit application Boston New England Theatres, Inc. No. 4 — — Commercial construction permit application Boston Westinghouse Radio Stations, Inc. No. 5 4kw 3kw Commercial construction permit application Boston The Yankee Network, Inc. No. 2 4kw 2kw Commercial construction permit application Waltham Raytheon Manufacturing Co. No. 2 40kw 20kw Commercial construction permit application MICHIGAN Detroit The Evening News Association No. 1 4kw 2kw Commercial construction permit application Detroit International Detrola Corp. No. 2 4kw 2kw Commercial construction permit application Detroit The Jam Handy Organization, Inc. No. 1 4kw 3kw Commercial construction permit application Detroit King Trendle Broadcasting Corp. No. 2 4kw 3kw Commercial construction permit application Detroit United Detroit Theaters Corp. No. 5 (letter) 4kw 2k w Commercial construction permit application Detroit WJR, The Goodwill Station, Inc. No. 6 40kw 20kw Commercial construction permit application MINNESOTA St. Paul KSTP, Inc. No. 1 4kw 3kw Commercial construction permit application MISSOURI Kansas City The Kansas City Star Co. No. 1 4kw 3kw Commercial construction permit application St Louis Michael Alfend, Truman L. Brown, Samuel I. Berger and Sidney J. Heiman, d/b as ALFCO Company No. 4 4kw 2kw Commercial construction permit application St. Louis Globe-Democrat Publishing Co. No. 1 4kw 3kw Commercial construction permit application St. Louis Thomas Patrick, Inc. No. 1 4kw 3kw Commercial construction permit application St. Louis The Pulitzer Publishing Co. No. 1 4kw 3kw Commercial construction permit application St. Louis Star-Times Publishing Co. No. 2 4kw 2kw Commercial construction permit application NEBRASKA Omaha Radio Station WOW, Inc. No. 1 4kw 3kw Commercial construction permit application Omaha World Publishing Co. No. 7 4kw 3k w Commercial construction permit application NEW JERSEY Camden Radio Corp. of America No. 5 W3XEP 30kw 30kw Experimental license 88 LOCATION APPLICANT OR OWNER CHANNEL CALL LETTERS POWER VISUAL AURAL STATUS Camden Radio Corp. of America (321- 327mc) W3XAD 500w 500w Experimental license as television relay Passaic Allen B. DuMont Laboratories, Inc. No. 4 W2XVT 50w 50w Experimental license Newark Bremer Broadcasting Corp. No. 5 4kw 2kw Commercial construction permit application NEW MEXICO Albuquerque Albuquerque Broadcasting Co No. 1 4kw 3kw Commercial construction permit application NEW YORK Buffalo WEBR, Inc. No. 1 4kw 3kw Commercial construction permit application Jamaica, L. 1. William B. Still tr/as Jamaica Radio & Television Co. No. 13 W2XJT 400w 1 OOw Experimental construction permit New York Bamberger Broadcasting Service, Inc. No. 6 4kw 2kw Commercial construction permit application New York American Broadcasting Co., Inc. No. 6 — — Commercial construction permit application New York Columbia Broadcasting System, Inc. (346- 358mc) W2XCB 25 w (peak) — Experimental construction permit. Portable. Television relay with WCBW New York Columbia Broadcasting System, Inc. No. 2 WCBW 3kw 2.5kw Operating commercial station New York Columbia Broadcasting System, Inc. (480- 496mc) W2XCS lkw (peak) lkw Experimental construction permit New York Allen B. DuMont Laboratories, Inc. To be assigned W2XEM lkw (peak) lkw Experimental construction permit. Television relay New York Allen B. DuMont Laboratories, Inc. No. 4 W2XWV lkw lkw Experimental license New York Allen B. DuMont Laboratoriesr Inc. No. 5 WABD 4kw lkw Operating commercial station New York Debs Memorial Radio Fund, Inc. No. 17 40kw 50kw Commercial construction permit application New York Allen B. DuMont Laboratories, Inc. No. 15 & 16 W10XKT 50w — Experimental license. Portable-Mobile. Television relay with W2XVT New York Palmer K. & Lois C. Leberman No. 10 4kw 2kw Commercial construction permit application New York Marcus Loew Booking Agency, Inc. No. 17 4kw 2kw Commercial construction permit application New York Metropolitan Television, Inc. No. 9 (letter) 4kw 2kw Commercial construction permit application New York Metropolitan Television, Inc. No. 8 W2XMT 50w (peak) 50w Experimental construction permit New York National Broadcasting Co., Inc. No. 4 WNBT 3kw 5.2kw Operating commercial station New York National Broadcasting Co., Inc. No. 8 W2XBT 400w — Experimental license. Portable-Mobile Television relay with WNBT New York National Broadcasting Co., Inc. No. 17 & 18 W2XBU 1 5 w — Experimental license. Portable-Mobile television relay with WNBT New York News Syndicate Co., Inc. No. 11 40kw 20kw Commercial construction permit application New York Philco Radio & Television Corp. No. 9 — — Commercial construction permit application New York Raytheon Manufacturing Co. No. 1 40kw 20k w Commercial construction permit application New York Twentieth Century-Fox Film Corp. No. 5 40kw 20kw Commercial construction permit application New York WLIB, Inc. No. 17 — — Commercial construction permit application Rochester Stromberg-Carlson Co. No. 1 4kw 3kw Commercial construction permit application Schenectady General Electric Co. No. 8 W2XGE 60w (peak) 50w Experimental license. Television relay with WRGB Schenectady General Electric Co. No. 4 WRGB 40kw 20kw Operating commercial station New Scotland General Electric Co. No. 8 W2XI 50w (peak) — Experimental license. Television relay with WRGB White Plains Westchester Broadcasting Corp. No. 13 4kw 2kw Commercial construction permit application Brooklyn Sherron Metallic Corp. As may be assigned W2XDK 1 Okw (peak) I Okw Experimental construction permit OHIO Akron United Broadcasting Co. No. 5 4kw 2kw Commercial construction permit application Cincinnati Cincinnati Broadcasting Co. No. 10 (letter) 40kw 20kw Commercial construction permit application Cincinnati The Crosley Corp. No. 1 50kw 50kw Commercial construction permit application Cincinnati The Crosley Corp. No. 1 W8XCT lkw lkw Experimental construction permit Cleveland National Broadcasting Co., Inc. No. 4 lkw 3kw Commercial construction permit application Cleveland Scripps-Howard Radio, Inc. No. 2 4kw 3kw Commercial construction permit application 89 CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS Cleveland United Broadcasting Co. No. 2 40kw 20kw Commercial construction permit application Cleveland The WGAR Broadcasting Co. No. 3 — — Commercial construction permit application Cleveland WJW, Inc. No. 4 — — Commercial construction permit application Columbus Central Ohio Broadcasting Co. No. 9 4kw 2kw Commercial construction permit application Columbus The Crosley Corp. No. 2 50kw 50kw Commercial construction permit application Columbus United Broadcasting Co. No. 4 4kw 2kw Commercial construction permit application Dayton The Crosley Corp. No. 4 1 Okw lOkw Commercial construction permit application OKLAHOMA Oklahoma City WKY Radiophone Co. No. 1 4kw 3kw Commercial construction permit application OREGON Portland Oregonian Publishing Co. No. 4 4kw 3kw Commercial construction permit application PENNSYLVANIA Springfield Township Philco Radio & Television Corp. No. 3 W3XE 1 Okw (peak) llkw Experimental license. S. A. rebroad¬ cast programs of WNBT Springfield Township Philco Radio & Television Corp. To be assigned W3XF lkw (peak) lkw Experimental construction permit Area of Central Md.. N.E. Md., S.E. Penna. and D. C. Philco Radio & Television Corp. No. 11 & 12 W3XPD 40w (peak) 40w Experimental license television relay Area of Central Md., N.E. Md., S.E. Penna. and D. C. Philco Radio & Television Corp. No. 13 & 14 W3XPE 40w 40w Experimental license television relay Area of Central Md., N.E. Md., S.E. Penna. and D. C. Philco Radio & Television Corp. No. 11 & 12 W3XPF 40w (peak) 40w Experimental license television relay Area of Central Md.. N.E. Md.. S.E. Penna. and D. C. Philco Radio & Television Corp. No. 11 & 12 W3XPG 40w ( peak ) 40w Experimental license television relay Area of Central Md., N.E. Md., S.E. Penna. and D. C. Philco Radio & Television Corp. No. 13 & 14 W3XPH 40 w — Experimental license television relay Area of Central Md., N.E. Md., S.E. Penna. and D. C. Philco Radio & Television Corp. No. 11 & 12 W3XPI 40w — Experimental license television relay Area of Central Md., N.E. Md., S.E. Penna. and D. C. Philco Radio & Television Corp. No. 13 & 14 W3XPK 40w (peak) 40 w Experimental license television relay Area of Central Md., N.E. Md., S.E. Penna. and D. C. Philco Radio & Television Corp. No. 13 & 14 W3XPL 4 Ow (peak) 40w Experimental license television relay Area of Central Md.. N.E. Md., S.E. Penna. and D. C. Philco Radio & Television Corp. No. 13 & 14 W3XPR 40w (peak) 40w Experimental license television relay Area of Washington, D. C., Philadelphia and New York City Philco Radio & Television Corp. To be assigned W10XAD 50kw ( peak ) — Experimental construction permit Area of Washington, D. C., Philadelphia and New York City Philco Radio & Television Corp. To be assigned W10XAE 50kw (peak) — Experimental construction permit Area of Washington, D. C., Philadelphia and New York City Philco Radio & Television Corp. To be assigned W10XAF 50kw (peak) Experimental construction permit Area of Washington, D. C., Philadelphia and New York City Philco Radio & Television Corp. No. 13 & 14 W10XP 40w (peak) 40w Experimental license television relay Area of Philadelphia, Washington, D. C., and New York City Philco Radio & Television Corp. No. 13 & 14 W10XPA 40 w (peak) — Experimental license television relay Area of Philadelphia, Washington, D. C., and New York City Philco Radio & Television Corp. No. 13 & 14 W10XPC 40w (peak) — Experimental license television relay Area of Philadelphia, Washington, D. C., and New York City Philco Radio & Television Corp. No. 13 & 14 W10XPR 40w (peak) — Experimental license television relay Philadelphia Philco Radio & Television Corp. No. 3 WPTZ 3kw 3kw Operating commercial station Harrisburg Keystone Broadcasting Corp. No. 2 — — Commercial construction permit application Johnstown WJAC, Inc. No. 3 4kw 3kw Commercial construction permit application Lancaster WGAL, Inc. No. 4 4kw 3kw Commercial construction permit application Lancaster Lancaster Television Corp. — — — Commercial construction permit application Philadelphia Bamberger Broadcasting Service, Inc. No. 7 lkw 3kw Commercial construction permit application 90 LOCATION APPLICANT OR OWNER CHANNEL CALL LETTERS POWER VISUAL AURAL STATUS Philadelphia Pennsylvania Broadcasting Co. No. 4 4kw 2kw Commercial construction permit application Philadelphia Philadelphia Daily News, Inc. No. 9 5kw 2.5kw Commercial construction permit application Philadelphia The Philadelphia Inquirer, A Division of Triangle Publications, Inc. No. 4 4kw 3kw Commercial construction permit application Philadelphia Seaboard Radio Broadcasting Corp. No. 18 4k w 3kw Commercial construction permit application Philadelphia WCAU Broadcasting Co. No. 5 4kw 2kw Commercial construction permit application Philadelphia WDAS Broadcasting Station, Inc. No. 9 4kw 2kw Commercial construction permit application Philadelphia Westinghouse Radio Stations, Inc. No. 7 4kw 3kw Commercial construction permit application Philadelphia WFIL Broadcasting Co. No. 7 4kw 2kw Commercial construction permit application Pittsburgh WCAE, Inc. No. 4 — — Commercial construction permit application Pittsburgh Scripps-Howard Radio, Inc. No. 3 4kw 3kw Commercial construction permit application Pittsburgh Westinghouse Radio Stations, Inc. No. 1 4kw 3kw Commercial construction permit application Pittsburgh Allen B. DuMont Laboratories, Inc. No. 2 — — Commercial construction permit application Wilkes-Barre Louis G. Baltimore No. 5 lkw 3kw Commercial construction permit application RHODE ISLAND Providence E. Anthony & Sons, Inc. No. 10 25kw 12.5kw Commercial construction permit application Providence The Outlet Co. No. 7 40kw 50kw Commercial construction permit application Providence The Yankee Network, Inc. No. 6 4kw 2kw Commercial construction permit application TENNESSEE Nashville J. W. Birdwell No. 1 4kw 2kw Commercial construction permit application TEXAS Dallas Interstate Circuit, Inc. No. 2 25kw 12.5kw Commercial construction permit application Dallas KRLD No. 2 — — Commercial construction permit application UTAH Salt Lake City Frank C. Carman, David G. Smith, Jack L. Powers and Grant R. Wrathall d/b as Utah Broadcasting Co. No. 4 4kw 3kw Commercial construction permit application Salt Lake City Intermountain Broadcasting Corp. No. 2 — Commercial construction permit application VIRGINIA Arlington Co. Philco Radio & Television Corp. To be assigned W3XAF 3kw (peak) 3k w Experimental construction permit Richmond Havens & Martin, Inc. No. 3 4kw 3kw Commercial construction permit application WASHINGTON Seattle Radio Sales Corp. No. 1 4kw 3kw Commercial construction permit application Spokane Louis Wasmer, Inc. No. 1 4kw 3kw Commercial construction permit application WEST VIRGINIA S. Charleston Gus Zabaris No. 1 W8XGZ 200w (peak) 1 lOw Experimental construction permit WISCONSIN Milwaukee Hearst Radio, Inc. No. 4 4kw 3kw Commercial construction permit application Milwaukee The Journal Company No. 3 or 4 WMJT 4kw 2kw Commercial construction permit granted Frequencies Assigned to Radio and Television Broadcasting Services Standard Broadcast Amp- 54-60 Channel 2 186-192 Channel 9 92-106 Commercial litude Modulation 60-66 Channel 3 192-198 Channel 10 Experimental Television 535—1605 kc 66-72 Channel 4 198-204 Channel 11 480-920 me 76-82 Channel 5 204-210 Channel 12 Television Relay Systems Television (TV) 82-88 Channel 6 210-216 Channel 13 1295-1375 me (In Megacycles) 174-180 Channel 7 Frequency Modulation (FM) Experimental Region 44-50 Channel 1 180-186 Channel 8 88-92 Educational 30,000-100,000 me 91 MARKET ANALYSIS OF TELEVISION STATION ALLOCATIONS Retail Sales % of % of Total Retail Station Television Population Station Retail Retail Sales Coverage No. Total State Television Coverage Station’s Coverage Sales in Sales Coverage State of Population Coverage to Total Coverage Population Coverage Coverage by States Breakdown Sta¬ (1940 of State’s State 50 Mi. Breakdown Areas (000 to State (000 (000 Location tions Census ) Population Population Radius by States Omitted) Totals Omitted) Omitted) CALIFORNIA 6.907,387 5,050,000 73.0 74.0 $2,369,274 ^Fresno 1 3.4 237,100 $ 99,049 3.1 99,049 ^Hollywood 3 43.6 3,009,000 1,415,177 44.4 1,415,177 *Los Angeles 8 43.6 3,009,000 1,415,177 44.4 1,415,177 ^Riverside 1 29.5 2,035,000 1,058,024 33.2 1,058,024 *San Francisco 3 16.0 1,099,800 492,842 15.5 492,842 * Stockton 1 15.3 1,059,700 491,686 15.4 491,686 COLORADO 1,123,298 459,600 40.9 51.9 212,189 *Denver 1 40.9 459,600 212,189 51.9 212,189 CONNECTICUT 1,709,200 1,709,200 100.0 100.0 717,262 Booth Hill 1 12,095,100 5,097,046 Conn. 52.8 902,700 54.2 388,652 N. Y. 66.7 8,984,100 69.0 3,849,040 N. J. 53.1 2,208,300 54.4 859,354 Hartford 2 2,285,500 866,924 Conn. 100.0 1,709,200 100.0 717,262 Mass. 13.4 576.400 13.2 229,393 DELAWARE 266,505 214,000 80.3 81.8 90,070 Wilmington 1 4,072,900 1,464,054 Md. 4.9 89,500 3.5 21,442 Del. 80.3 214,000 81.8 90,070 N. J. 13.0 540,400 10.7 168,328 Pa. 32.6 3,229,000 37.8 1,184,214 DISTRICT OF COLUMBIA 663,100 663,100 100.0 100.0 402,768 Washington 9 1,278,200 531,313 D. C. 100.0 663,100 402,768 Md. 25.1 457,500 94,413 Va. 5.9 157,600 30,214 FLORIDA 1,897,414 610,000 32.1 40.6 249,421 Jacksonville 1 299,600 94,413 Florida 15.1 288,400 15.1 92,999 Georgia .3 11,200 .2 1,414 *Miami Beach 1 321,600 156,422 156,422 fGEORGIA 3,123,723 11,200 .3 .2 1,414 tIDAHO 524,873 29,600 5.6 43.9 77,154 ILLINOIS 7,897,241 6,402,600 80.2 72.4 2,069,504 Chicago 7 5,028,900 2,065,158 Ill. 58.0 4,580,700 66.8 1,901,328 Ind. 11.2 384,700 12.4 132,400 Wis. 2.0 63,500 2.1 22,430 INDIANA 3,427,796 1,378,200 40.2 36.4 388,072 *Indianapolis 4 14.2 487,100 147,607 13.8 147,607 La Fayette 1 556,200 160,017 Ind. 13.7 469,400 12.6 134,395 Ill. 1.1 86,800 .9 25,622 IOWA 2,538,268 1,121,000 45.2 46.9 385,761 •Ames 1 19.3 488,700 4E8.700 182,649 22.2 182,649 Iowa City 1 611,600 Iowa 18.9 480,600 19.3 159,135 Ill. 1.7 131,000 1.5 44,188 fKANSAS 1,801,028 154,000 8.6 6.9 32,851 KENTUCKY 2,845,627 800,900 28.1 43.5 220,600 Louisville 1 627,300 192,578 Ky. 19.4 553,000 31.0 161,315 Ind. 5.1 174,300 2.9 31,263 LOUISIANA 2,363,880 809,300 34.2 42.3 205,653 New Orleans 2 820,600 206,945 La. 34.2 809,300 42.3 205,653 Miss. .5 11,300 .5 1,292 MARYLAND 1,821,244 1,639,400 90.00 90.6 560,834 Baltimore 4 2,662,500 1,068,461 Md. 83.9 1,528,600 84.9 525,527 Pa. 4.3 429,900 4.3 135,465 Va. 1.5 40,900 .7 4,701 D. C. 100.0 663,100 100.0 402,708 MASSACHUSETTS 4,316,721 4,148,100 96.1 98.8 1,717,278 Boston 6 4,472,800 1,789,117 Mass. 85.5 3,694,000 98.4 1,710,482 N. H. 41.3 203,000 42.9 78,635 R. I. 80.7 575,800 82.7 227,671 Seekonk 1 2,622,200 1,164,348 Mass. 40.0 1,727,500 47.2 820,175 R. I. 100.0 713,300 100.0 275,447 Conn. 10.6 181,400 9.6 68,726 Waltham 1 4,472,800 1,789,117 N. H. 41.3 203,000 42.9 78,635 Mass. 85.6 3,694,000 85.3 1,482,811 R. I. 80.7 575,800 82.7 227,671 MICHIGAN 5,252,106 2,815,200 53.6 59.3 1,080,088 *Detroit 6 53.6 2,815,200 1,080,888 59.3 1,080,888 MINNESOTA 2,792,300 1,147,600 41.1 52.1 529,545 St. Paul 1 1,220,100 547,788 Minn. 41.1 1,147,600 52.1 529,545 Wis. 2.3 72,500 1.7 18,243 * Covers an area in one state only, t Covered by stations outside the state. 92 % of % of Total Retail .rvei.a.11 oaies Station Television Station’s Station Retail Retail Sales Coverage No. Total State Television Coverage Population Coverage Sales in Sales Coverage State of Population Coverage to Total Coverage Population Coverage Coverage by States Breakdown Sta¬ (1940 of State’s State 50 Mi. Breakdown Areas (000 to State (000 (000 Location tions Census) Population Population Radius by States Omitted) Totals Omitted) Omitted) •{■MISSISSIPPI 2,183,796 11,300 .5 .5 1,292 MISSOURI 3,784,664 1,915,500 50.6 67.8 747,296 Kansas City I 854,800 334,941 Mo. 18.5 700,800 27.4 302,090 Kan. 8.6 154,000 6.9 32,851 St. Louis 5 1,604,100 534,602 Mo. 10.5 398,700 40.4 445,206 III. 15.3 1,205,400 3.1 89,396 NEBRASKA 1,315,834 460,600 35.0 17.6 70,079 Omaha 2 612,300 109,056 Neb. 35.0 460,600 17.6 70,079 Iowa 6.0 151,700 4.7 38,977 fNEW HAMPSHIRE 491,524 203,000 41.3 42.9 78,635 NEW JERSEY 4,160,200 4,160,200 100.0 100.0 1,580,401 Newark 1 12,078,500 5,040,642 N. J. 84.2 3,428,900 83.3 1,316,154 N. Y. 64.2 8,649,600 66.7 3,724,488 NEW MEXICO 531,818 145,300 27.3 30.6 38,439 "Albuquerque 1 145,300 38,439 30.6 NEW YORK 13,479,142 9,619,800 71.4 92.3 5,146,913 New York 14 12,504,000 5,242,972 N. Y. 64.6 8,706,900 67.3 3,754,037 N. J. 81.2 3,378,700 82.3 1,300,836 Conn. 24.5 418,400 26.2 188,099 "Buffalo 1 9.3 1,258,500 467,261 8.4 * Rochester 1 5.2 704,800 13,479,142 5.0 White Plains 1 11,944,300 N. Y. 65.8 8,863,600 5,001,252 68.0 3,791,488 N. J. 64.0 2,662,300 64.6 1,021,665 Conn. 24.5 418,400 26.2 188,099 Schenectady 1 920,400 369,001 N. Y. 5.8 775,800 5.6 312,027 Mass. 2.8 122,300 2.8 49,406 Vt. 6.2 22,300 6.1 7,568 OHIO 6,907,612 5,379,300 77.9 58.9 1,437,968 "Akron 1 39.5 2,730,800 1,028,457 42.1 Cincinnati 2 1,573,800 560,204 Ohio 17.8 1,232,100 19.8 482,577 Ky. 8.7 247,900 11.2 58,016 Ind. 2.7 93,800 1.8 19,611 "Cleveland 5 38.4 2,652,700 1,014,583 41.5 "Columbus 3 13.3 934,400 325,499 13.3 Dayton 1 1,629,700 604,191 Ind. 2.9 99,000 2.8 29,717 Ohio 22.0 1,521,700 23.5 574,474 OKLAHOMA 2,336,434 612,200 26.2 33.3 170,943 "Oklahoma City 1 26.2 612,200 170,943 33.3 OREGON 1,089,684 597,700 54.9 59.0 260,713 Portland 1 692,400 290,074 Ore. 54.9 597,700 59.0 260,713 Wash. 5.5 94,700 4.4 29,361 PENNSYLVANIA 9,900,180 7,840,400 70.2 80.4 2,519,503 Philadelphia 10 1,960,400 1,840,704 Pa. 34.0 3,362,900 39.3 1,231,394 N. J. 34.1 1,417,900 35.9 567,195 Del. 67.4 179,600 71.0 78,115 Lancaster 1 2,905,100 1,004,568 Pa. 16.1 1,596,500 15.7 491,522 Del. 67.4 179,600 71.0 78,115 Md. 70.0 1,129,000 70.2 434,931 "Scranton 1 11.5 1,143,000 304,993 9.7 "Wilkes-Barre 1 16.4 1,621,900 436,215 16.4 Pittsburgh 4 2,815,300 902,238 Pa. 25.2 2,496,900 25.4 795,089 Ohio 2.7 188,200 2.6 63,098 W. Va. 6.8 130,200 10.9 44,051 Johnstown 1 1,175,500 296,717 Pa. 11.0 1,088,600 8.6 268,659 Md. 4.8 86,900 4.5 28,058 RHODE ISLAND 717,300 717,300 100.0 100.0 275,447 Providence 3 3,152,900 1,354,713 R. I. 100.0 717,300 100.0 275,447 Mass. 51.6 2,226,300 57.7 1,003,086 Conn. 12.5 213,300 10.6 76,170 TENNESSEE 2,915,841 568,300 19.5 21.9 132,122 Nashville 1 617,600 139,791 Tenn. 19.5 568,300 21.9 133,122 Ky. 1.7 49,300 1.3 6,669 TEXAS 6,414,824 1,029,300 16.0 20.6 370,715 "Dallas 2 16.0 1,029,300 370,715 20.6 UTAH 550,310 352,800 64.1 74.1 126,515 "Salt Lake City 2 64.1 352,800 128,515 74.1 {■VERMONT 359,200 22,300 6.2 6.1 7,568 VIRGINIA 2,677,773 740,400 27.6 33.4 209,499 "Richmond 1 21.8 582,800 179,285 28.5 WASHINGTON 1,736,191 1,128,000 65.0 69.2 462,743 "Seattle 1 48.3 837,900 353,954 52.9 Spokane 1 225,000 86,805 Wash. 11.3 195,400 11.9 79,428 Idaho 5.6 29,600 4.2 7,377 {WEST VIRGINIA 1,901,974 130,200 6.8 10.9 44,051 WISCONSIN 3,136,587 1,354,200 43.2 44.9 477,836 "Milwaukee 2 43.2 1,281,700 459,593 43.2 * Covers an area in one state only. t Covered by stations outside the state. Courtesy, Buchanan & Company, Inc. 93 BROADCASTING SERVICE IN 140 METROPOLITAN AREAS Popu- No. of TV Applications FM Applications No. of Stand. B’cast in Experi¬ mental ( includes TV Relays) Channel Nos Total Stations main- ing Ap¬ plica¬ tions St a. Oper. Metropolitan District Sales Rank (1940 Census) Commer¬ cial Corn- Metropolitan munity Metro- Cora- politan munity FM Sta¬ tions tional Time 6-1-45 New York — Northeastern New Jersey i 11,691 17 (3 op.* ) 13 (1 op.*) 2. 4, 5, 7. 9, 11. 13 7 n 33 18 Chicago 2 4,499 6 ( 1 op. ) 6 (1 op.) 2. 4, 5. 7, 9, 11. 13 7 4 19 8 Los Angeles 3 2,905 11 5 (2 op.) 2. 4. 5. 7. 9. 11. 13 7 2 21 12 Philadelphia 4 2,899 10 (1 op.) 2 3, 6. 10. 12 4 6 7 8 Boston 5 2,351 7 2. 4. 7. 9. 13 5 3 12 6 Detroit 6 2,296 6 2. 4. 5, 7. 9 5 2 9 6 San Francisco — Oakland 7 1,429 3 2. 4, 5, 7. 9. 11 6 18 6 Pittsburgh 8 1,994 4 3. 6. 8. 10 4 2 6 7 Cleveland 9 1,215 5 2. 4. 5. 7. 9 5 10 4 St. Louis, Mo. 10 1,368 5 4. 5. 7. 9. 13 5 4 4 6 Minneapolis, St. Paul 11 911 1 2, 4, 5. 7. 9 5 3 4 5 Washington 12 908 9 2 4. 5. 7. 9 4 10 6 Baltimore 13 1,047 4 2. 11. 13 3 7 5 Buffalo — Niagara Falls 14 858 1 4. 7. 9, 13 4 5 5 Milwaukee 15 790 1 3. 6. 8. 10 4 1 1 4 3 Cincinnati 16 789 2 1 2. 4. 7. 11 4 6 5 Kansas City, Mo. — Kansas City, Kan. 17 634 1 2. 4, 5 .9 4 2 3 3 4 Providence 18 712 3 11 1 7 4 Seattle 19 453 1 2. 5. 7. 11 4 4 6 Hartford — New Britain, Conn. 20 502 2 8. 10 2 2 2 4 Houston, Texas 21 510 2. 4. 5, 7 4 2 1 3 Portland, Ore. 22 406 1 3. 6. 8. 10. 12 5 5 2 5 Albany, Schenectady. Troy 23 431 1 2 (1 op.) 2. 4. 7. 9, 11 5 2 3 5 Indianapolis 24 455 4 1 3, 6, 8, 10. 12 5 8 4 Atlanta, Ga. 25 442 2. 5. 8. 11 4 1 3 4 Denver, Colo. 26 384 1 2. 4. 5. 7. 9 5 2 5 Dallas, Texas 27 377 2 4. 8. 12 3 2 4 Rochester, N. Y. 28 412 2, 6, 11 3 2 1 3 Columbus, Ohio 29 366 3 3. 6. 8, 10 4 1 5 3 Scranton, Wilkes-Barre 30 630 1 11 1 1 1 2 4 New Orleans 31 540 2 2. 4. 6. 7. 10 5 2 4 5 Springfield, Holyoke, Mass. 32 395 3 1 1 1 2 3 Louisville, Ky. 33 434 1 5, 9 2 3 4 Toledo, Ohio 34 342 13 1 2 2 Akron, Ohio 35 350 1 11 1 6 1 Youngstown, Ohio 36 372 13 1 3 3 Memphis, Tenn. 37 332 2. 4. 5. 7. 9 5 1 2 3 Miami, Fla. 38 251 1 2. 4. 5. 7 4 4 1 3 New Haven, Conn. 39 308 6 1 1 2 Omaha, Council Bluffs 40 288 2 3. 6. 7 3 2 1 3 Worcester, Mass. 41 306 5 1 1 3 Birmingham, Ala. 42 408 4. 9, 13 3 1 3 4 Allentown, Bethlehem, Easton, Pa. 43 325 8 1 4 2 Dayton, Ohio 44 272 1 5. 13 2 3 2 Lowell, Haverhill, Lawrence, Mass. 45 335 6 1 3 2 Syracuse, N. Y. 46 358 5. 8. 10 3 5 4 Norfolk, Newport News, Portsmouth 47 330 4. 7, 11. 13 4 2 1 3 Richmond, Va. 48 246 1 3. 6, 8. 10 4 1 4 3 San Diego, Cal. 49 256 3. 6. 8. 10 4 3 San Antonio, Texas 50 319 2. 4. 5. 7. 9 5 1 2 5 Fort Worth, Texas 51 208 2. 5. 10 3 1 4 Oklahoma City 52 221 1 2. 4. 5, 9 4 4 1 4 Bridgeport, Conn. 53 217 1 1 1 1 2 Sacramento, Cal. 54 159 3. 6. 10 3 3 3 Fall River, New Bedford, Mass. 55 273 1 1 2 2 Nashville, Tenn. 56 242 1 4. 5. 7, 9 4 1 1 1 3 Grand Rapids, Mich. 57 210 7. 9 2 5 3 Salt Lake City, Utah 58 204 2 2. 4, 5, 7, 9 5 1 1 3 Des Moines, Iowa 59 184 2. 4, 5. 9 4 1 2 3 Trenton, N. J. 60 200 1 1 1 1 Tampa, St. Petersburg, Fla. 61 210 2, 4. 5. 7 4 2 4 Wilmington, Del. 62 189 1 7 1 2 2 Canton, Ohio 63 200 1 1 1 1 Flint, Mich. 64 189 11 1 1 1 Tulsa, Okla. 65 189 3. 6. 8. 10 4 1 2 3 Jacksonville, Fla. 66 196 1 2. 4. 6. 8 4 1 2 4 Davenport, Rock Island, Moline, Iowa 67 175 2. 4. 5. 9 4 1 1 2 Utica, Rome, N. Y. 68 197 3. 13 2 1 1 * Now operating. 94 No. ol No. of TV Applications FM Applications Stand. Popu- and Stations Operating Allocations of TV Channels , - - ■ B’cast lation , - - - A — - • , - ^ - Re- Sta. in Experi- Channel Nos. Total Stations Licensed FM Sta¬ tions Condi¬ tional Grants main- ing Ap¬ plica¬ tions Oper. Full Time 6-1-45 Metropolitan District Sales Rank (1940 Census) Commer- (includes cial TV Relays) Corn- Metropolitan munity Metro- Com- politan munity Peoria, Ill. 69 163 3. 6, 12 3 5 1 Harrisburg, Pa. 70 173 i 8 1 3 2 Spokane, Wash. 71 141 1 2. 4, 5, 7, 9 5 1 4 Duluth, Superior, Minn. 72 157 3, 6. 8, 10 4 2 Reading, W. Va. 73 175 5 1 2 1 Tacoma, Wash. 74 156 4, 9. 13 3 3 Binghamton, N. Y. 75 145 12 1 1 Chattanooga, Tenn. 76 193 3, 6, 10. 12 4 4 3 Saginaw, Bay City, Mich. 77 153 3, 8, 13 3 2 2 San Jose, Calif. 78 129 13 1 2 1 Fresno, Calif. 79 98 1 2. 4. 5, 7 4 1 2 3 South Bend, Ind. 80 147 1 1 1 2 Fort Wayne, Ind. 81 134 1 2. 4. 7, 9 4 1 3 2 Wheeling, W. Va. 82 196 12 1 2 2 Atlantic City, N. J. 83 100 8 1 2 2 Phoenix, Ariz. 84 122 2, 4, 5, 7 4 1 3 Waterbury, Conn. 85 145 12 1 3 2 Wichita, Kan. 86 127 2. 4, 5, 9 4 1 2 3 Knoxville, Tenn. 87 152 2. 4 ,8, 11 4 2 1 3 Charleston, W. Va. 88 136 7, 11. 13 3 2 2 Portland, Me. 89 107 3. 8 2 1 2 Beaumont, Port Arthur, Texas 90 139 3. 6, 8. 10 4 1 3 Lancaster, Pa. 91 132 1 4 1 2 1 Huntington, Ashland. W. Va. 92 171 5 1 3 1 Evansville, Ind. 93 142 2, 11 2 1 2 2 Lansing, Mich. 94 no 6 1 1 1 Erie, Pa. 95 134 12 1 2 Shreveport, La. 96 112 2, 4. 6 ,8 4 1 3 Racine, Kenosha, Wis. 97 135 1 1 1 1 Little Rock ,Ark. 98 127 3. 6. 8, 10 4 3 Charlotte. S. C. 99 113 3, 9. 11 3 3 Johnstown, Pa. 100 152 1 13 1 1 1 Madison, Wis. 101 78 9 1 1 1 Rockford. Ill. 102 105 12 1 1 1 Springfield, Ill. 103 89 8. 10 2 3 2 Roanoke, Va. 104 111 5. 9. 12 3 2 2 El Paso, Texas 105 116 2. 4, 5, 7 4 2 Austin, Texas 106 106 8. 10, 12 3 1 2 Sioux City, Iowa 107 88 4, 9, 11. 13 4 2 Stockton, Calif. 108 79 1 8 1 2 2 Lincoln, Neb. 109 88 10, 12 2 1 1 2 Hamilton, Middletown, Ohio 110 113 9 1 1 1 Altoona, Pa. 111 114 9 1 1 1 Kalamazoo, Mich. 112 77 3 1 1 York, Pa. 113 93 1 1 3 1 Savannah, Ga. 114 118 3, 5, 9, 11 4 3 2 Cedar Rapids, Iowa 115 73 7. 11 2 1 1 Terre Haute, Ind. 116 83 4 1 2 1 Columbia, S. C. 117 90 2. 4, 8 3 1 2 Manchester, N. H. 118 82 1 1 2 2 Mobile, Ala. 119 115 3. 5, 9. 11 4 2 2 Waterloo, Iowa 120 67 3, 6. 13 3 I 1 Corpus Christi, Texas 121 71 3. 6. 8. 10 4 2 Decatur, Ill. 122 66 2 1 1 1 Topeka, Kan. 123 78 7. 11 2 1 0 Winston-Salem, N. C. 124 no 6, 8 2 1 1 1 2 Springfield, Ohio 125 77 1 1 3 1 Montgomery, Ala. 126 94 6. 10 2 2 2 Charleston, S. C. 127 99 7. 10, 13 3 1 2 Jackson, Miss. 128 88 2. 4, 5, 7 4 1 3 St. Joseph, Mo. 129 87 13 1 1 1 Greensboro, N. C. 130 73 2. 10 2 3 1 Galveston, Texas 131 72 9, 11, 13 3 1 1 Asheville, N. C. 132 76 5, 7, 12 3 2 Columbus, Ga. 133 92 3. 12 2 1 2 2 Springfield, Mo. 134 71 2. 4, 5. 9 4 3 Augusta, Ga. 135 88 6, 12 2 1 1 2 Amarillo, Texas 136 53 2. 4. 5. 7 4 2 2 Macon, Ga. 137 75 4. 7. 10 3 2 1 2 Waco, Texas 138 71 3. 6. 9. 11 4 1 1 Durham, N. C. 139 70 4. 7 2 3 1 Pueblo, Col. 140 62 3. 6. 8, 10 4 1 1 17 46 78 379 404 Courtesy, Buchanan & Company, Inc. 95 TOTALS 140 63,068 134 33 389 DIRECTORY OF TELEVISION A listing of advertisers, advertising agencies, packaged- show producers, telecasting stations, organizations and publications — with their video activities summarized. _ _ ADVERTISERS _ Abraham & Straus, Inc., 420 Fulton St., Brooklyn. Department store. (See Bloomingdale’s in this list of Adver¬ tisers. See WNBT under Stations.) Acme News Pictures, Inc., 461 - 8th Ave., New York. Sponsored news program over WBKB in June, 1945. (See Henri, Hurst & McDonald under Agencies.) Adam Hat Stores, 657 Broadway, New York 12. William Pludo, vice-president, is in charge of television. Sponsored “Adam Hats Television Sports Parade”, boxing bouts from Ebbets Field, begin¬ ning July 22, 1941 over WNBT. Pre¬ sented two bouts in August 1941, then, on October 28 sponsored wrestling matches from Ridgewood Grove Arena. There were 18 pickups to May 1942. Early in 1945, Adam sponsored a sports program over WABD, featuring Tom and Bill Slater. All shows were pro¬ duced through Buchanan & Co., Inc. Admiral Corp., 3800 Cortland, Chicago 47, Ill. Maker of Admiral Radio. Pre¬ sents “Young Chicago” over WBKB every Thursday. Conducts auditions for talent in cooperation with the Chicago Board of Education. Aetna Life Insurance Co. & Affiliated Companies, 151 Farmington Ave., Hart¬ ford, Conn. Stanley F. Withe, manager, advertising and publicity department, is in charge of television. Aetna ex¬ hibit at the New York World’s Fair included a television demonstration us¬ ing educational films. In 1944, Aetna, first insurance company to use tele¬ vision, presented a commercial broad¬ cast over the NBC-GE-Philco network to promote Aetna Multiple Lines and Aetna Check Forgery insurance. Two 21-minute educational films, costing $1,000 each, were used. Company has full facilities for production of 16-mm sound films; plans to produce 10 or 12 one-reel educational subjects. Air Transport Association of America, 1515 Massachusetts Ave., N.W., Wash¬ ington 5, D. C. (See Cecil & Presbrey under Agencies.) Aldens Chicago Mail Order Co., 511 Paulina, Chicago 7, Ill. Miss Ide Bodian, fashion catalog manager, 200 Madison Ave., New York, is in charge of tele¬ vision. Television activity began in August 1944, with three telecasts over WABD. Conscious of the promotional possibilities of television for a fashion catalog, the company experimented with it from this angle with an eye to antici¬ pating its postwar potentialities. Desires primarily to bring the mail-order cata¬ log to life. Account is handled by Buchanan & Co. American Central Manufacturing Corp., Connersville, Ind. Maker of American Kitchens. On January 28, 1945, the company sponsored a comedy, “The Queen Was in the Kitchen”, produced by Gerald 0. Kaye over WABD. Pro¬ gram advertised “Planakit” matched kitchens. Subsequently, Jam Handy made a “behind the scenes” film show¬ ing how the program was telecast. This was used for sales promotion through¬ out the country. American Institute of Food & Home Products, 509 Madison Ave., N. Y. C. (See WABD under Stations.) Elizabeth Arden, 681 Fifth Ave., New York 22, N. Y. (See WRGB : Stations.) Association of American Playing Card Manufacturers, 420 Lexington Ave., New York. (See J. Walter Thompson under Agencies. See WRGB: Stations.) Atlantic Refining Co., 260 Broad St., Philadelphia, Pa. Wallace Orr, N. W. Ayer & Son, Inc., is the company tele¬ vision representative. Company spon¬ sored first football game on television, September 1940; first night football game, September 1941; first network football game, September 1944 over WPTZ- WNBT- WRGB. Live and film talent used in commercials varying from 45 seconds to 5 minutes. Televised 35 to 40 times. Company plans to con¬ tinue experimentation. Augusta Knitting Corp., 700 Broad, Utica 2, N. Y. Maker of Jones Quality Underwear. (See Norman D. Waters Many of these listings, compiled by Richard Manville and Patricia Murray, were published in Printers' Ink for July 6, 1945. They have been revised and greatly augmented by Margaret Rice and Barbara Jones. Changes or omissions called to the attention of the Editor, will be incorporated in future yearbooks. under Agencies. See Television Work¬ shop under Producers.) L. Bamberger & Co., 131 Market, New¬ ark 1, N. J. Department store. (See WNBT under Stations.) Black, Starr & Gorham, Inc., 594 Fifth Ave., New York. (See Norman D. Waters under Agencies. See Television Workshop under Producers.) Block Drug Co., Inc., 190 Baldwin Ave., Jersey City, N. J. Maker of Omega Oil. (See Cecil & Presbrey under Agencies.) Bloomingdale's, Lexington Ave. & 59th St., New York 17, N. Y. Ira A. Hirsch- mann, vice-president, is in charge of tele¬ vision. In August 1939, Bloomingdale’s and Abraham & Straus (Brooklyn) ap¬ plied jointly to the FCC for a television license. Application was filed by Metro¬ politan Television, Inc., subsidiary of the stores. Bloomingdale’s put on a series of intra-store millinery shows. Early in 1942, the store participated in a fashion series on WNBT. In January 1945, Mr. Hirschmann was appointed to organize frequency modu¬ lation and television activities for Federated Department Stores, which, in addition to the two stores named, includes F. & R. Lazarus & Co., Inc., Columbus, the John Shillito Co., Cin¬ cinnati, and Wm. Filene’s Sons Co., Inc., Boston. Bloomingdale’s experimental television station is W2XMT. Boots Aircraft Nut Corp., New Canaan, Conn. (See Cecil & Presbrey under Agencies.) Botany Worsted Mills, Dayton Ave., Pas¬ saic, N. J. Charles F. H. Johnson, Jr., vice-president, is in charge of television. Through Alfred J. Silberstein-Bert Goldsmith agency, Botany sponsored a series of one-minute animated cartoons which promote Botany ties and forecast the weather. Beginning in October 1941, these spots appeared over WNBT four times weekly. In mid-1945, Botany moved this advertising to WABD, later returned it to WNBT. Company is look¬ ing forward to color television to obtain actual display of its ties. Bulova Watch Co., 630 Fifth Ave., New York 20. R. F. Warren, advertising manager, is in charge of television. Bulova was the first advertiser to use commercials over WNBT. Beginning in 1941, the company had spot commer¬ cials six times a week. Except for the period when the war curtailed NBC television activities, Bulova has been a steady advertiser and now has two announcements a week; they consist of one-minute time signals with a visual animated clock face and a musical back¬ ground of the Minute Minuet. The Biow Company handles the account. The Butterick Co., Inc., 161 Sixth Ave., New York. Promoting its fashion pat¬ terns, Butterick gave the first commer¬ cial seen on WABD in May, 1943. Buxton, Inc. (leather goods), 47 W. 34th St., New York. (See J. Walter Thomp¬ son under Agencies.) Calvert Distillers Corp., 405 Lexington Ave., New York 17. (See Geyer, Cornell & Newell under Agencies.) 96 evision and the first wheel Many thousands of years ago a Man watched a log rolling down a hill and then and there an inspiration crawled inside the Man’s brain and wouldn’t go away. So the Man invented the Wheel. Fortunately for us the Man hacked and chiseled and chipped until the Wheel was finished ... he didn’t spend all of his time going around talking about it. He went out, or went in, or went somewhere, and built it. He didn’t stand before th? Amalgamated Asso¬ ciation of Cave Men Interested in the Develop¬ ment of Wheels and say, "Gentlemen, some day wheeled vehicles will skim along the earth at breathtaking speed.” No, sir, he didn’t keep talking— he kept chipping. We’ve done our share of talking, too. But let’s remember that we’ve all got a lot of chipping to do. BUCHANAN & COMPANY, Inc. ^Advertising: NEW YORK • CHICAGO • SAN FRANCISCO • LOS ANGELES • BEVERLY HILLS 97 ADVERTISERS Can Manufacturers' Institute, 60 East 42nd St., New York 17. Gordon E. Cole, advertising director. Agency : Benton & Bowles, Inc. (See WRGB: Stations.) Canada Dry Ginger Ale, Inc., 100 E. 42nd St., New York. In 1944, the company sponsored a series of spot animated cartoons over WABD. Carson, Pirie, Scott & Co., Chicago de¬ partment store. (See WBKB: Stations.) Carter Products, Inc., 52 Park Place, New York 8, N. Y. Maker of Arrid. Pre¬ sented several adaptations of radio mys¬ teries over WABD in 1945. (See Buchanan & Co. and Small & Seiffer under Agencies.) The William Carter Co., Needham Heights 94, Mass. Maker of Carter’s Underwear. William L. Carter, assis¬ tant vice president, is in charge of tele¬ vision. In September 1944, the Carter Co. cooperated with several manufac¬ turers to present a series of commer¬ cials on WRGB. Carter’s family skit, “Keeping Up With Baby,” promoted infants’ and children’s underwear. Casual Clothes, Inc., 744 Madison Ave., New York. (See Charles M. Storm under Agencies.) Chef Boy-Ar-Dee Quality Foods, Inc., Milton, Pa. (See American Broadcast¬ ing Co. under Producers.) Cluett, Peabody & Co.. Inc., (Sanforiz¬ ing Div.), 40 Worth, New York 13, N. Y. Young & Rubicam, the company’s agency, produced a series of fashion programs for Sanforized over WABD. Nancy Dixon, who appears in San¬ forized magazine advertising, guided the programs, each of which featured outstanding fashion designers and style trends. Series started January 24, 1945; productions lasted 15 minutes and oc¬ curred every two weeks. Advertising usually consisted of a one-minute skit worked in at the end of the program. Colgate-Palmolive-Peet Co.. 105 Hudson, Jersey City 2, N. J. Maker of Super Suds. (See William Esty Co. under Agencies. Also Newell-Emmett for Kirkman & Son Div., Bridge & Water, Brooklyn 2, N. Y.) Commonwealth Edison Co., 72 W. Adams, Chicago 3, Ill. Ardien B. Rodner, super¬ visor, special campaign division of the advertising department, is in charge of television. Company started telecasting over WBKB in August 1944, with an afternoon cooking lesson, “Cooking by the Dial”, and an evening comedy- drama, “What’s Cooking With the Scotts”, which later became “Welcome to the Walkers”. Company also spon¬ sors “Telequizicalls”, an audience par¬ ticipation quiz program. Prizes consist of electric appliances. Commonwealth’s program experiments are aimed at de¬ veloping advertising techniques and promoting the sale of electric appli¬ ances, particularly the electric range. Company has set up television receivers in public places to check audience re¬ actions to its programs. In each series the programs have been built around the commercials. “Telequizicalls” is the only show Edison has on the air at present, but a new drama-comedy series is planned for the near future. The Conde-Nast Publications, Inc., 420 Lexington Ave., New York 17. Pub¬ lisher of Vogue, which sponsored a fashion show over WABD in March 1944, using pictures and models from the magazine. Also produced a program over WRGB in 1945, employing live talent and film. Coty, Inc., 423 W. 55th St., New York 19. In July 1944, Glorianne Lehr pro¬ duced a program over WABD, illustrat¬ ing the methods of the' Coty Salon and promoting its processes and beauty aids. The Crowell-Collier Publishing Co., 250 Park Ave., New York 17. American Magazine collaborated with Station WRGB in April 1942 to produce a pro¬ gram bringing the magazine’s stories and articles to life. Collier's was tied in with an I. J. Fox show glorifying the fur farmer in October 1944. Curtis Publishing Co., Independence Square, Philadelphia. Publisher of The Saturday Evening Post, Ladies’ Home Journal, Country Gentleman, Jack and Jill, and Holiday. Sponsored both radio and television broadcasts in 1945 of the Army-Notre Dame and the Army-Navy football games. Television broadcasts were aired over WPTZ, Philadelphia; WNBT, New York, and WRGB, Sche¬ nectady. Commercials employed still photographs of Curtis publications to¬ gether with an off-screen voice. Lilly Dache, 78 E. 56th St., New York 22. Lilly Dache hats have been featured on several programs at WABD. Daly Bros. Shoe Co., Marion, Ind. Maker of Air-O-Magie shoes. (See Norman D. Waters under Agencies and Tele¬ vision Workshop under Producers.) John David, Inc., 1271 Broadway, New York 1. Beginning in April 1945 at WABD, this company cooperated with American Broadcasting Co. in produc¬ ing a series of nine variety programs titled “Letter to Your Serviceman” based on a radio program of the same name. Commercials strove for humor rather than conventional promotion. Diana Corset Co., Inc., 1 E. 33rd St., New York. (See Lester Harrison under Agencies.) Esther Dorothy Furs, 78 E. 56th St., New York. Esther Dorothy furs were used in two “Fashion Frolic” programs pro¬ duced over WABD. Eleanor Lambert, publicist, handles the account. Allen B. DuMont Laboratories, Inc., 2 Main Ave., Passaic, N. J. DuMont owns and operates Station WABD. Has spon¬ sored a number of programs promoting DuMont-engineered television. Features its trade character, Alec Electron. Agency: Buchanan & Co. Alfred Dunhill of London, Inc. and Mary Dunhill, Inc., 660 Fifth Ave., New York 19. In December 1943, Alfred Dunhill and Mary Dunhill sponsored a program over WABD in which models suggested Christmas gifts and wrappings. Several scenes illustrated uses of these gifts. Producer: Glorianne Lehr. (Also see Charles M. Storm under Agencies.) E. I. DuPont de Nemours & Co., Inc., Wilmington 98, Del. R. A. Applegate, advertising manager. Magic entertain¬ ment is being used to point up advan¬ tages of DuPont developments for better living in a new series at WRGB. Agency: BBD&O. Durez Plastics & Chemical, Inc., North Tonawanda, N. Y. Sponsored a 13-week series of programs in 1944 depicting uses of plastics in the postwar world. (See Television Workshop: Producers.) Easy Washing Machine Corp., Solar & Spencer, Syracuse 4, N. Y. (See Batten, Barton, Durstine & Osborn under Agen¬ cies and WRGB under’ Stations.) Elgin National Watch Co., 107 National, Elgin, Ill. Elgin sponsors spot film com¬ mercials, “time by the stars”, over WBKB and WNBT. These televised time signals run 90 seconds. Agency: J. Walter Thompson Co., Chicago. Encyclopedia Britannica Films, Inc., 20 N. Wacker Drive, Chicago 6, Ill. Company collaborated with WCBW on a live tal¬ ent and film series, “The World We Live In”. The programs were documentaries, experimental educational shows directed toward creating a television “School of the Air”. Programs made use of film in Encyclopedia Britannica Films’ library. Agency: N. W. Ayer & Son. Esquire, Inc., 919 N. Michigan Ave., Chicago, Ill. A. R. Pastel, advertising director, is in charge of television. On September 28, 1944, over WABD, Es¬ quire sponsored “The Boys from Boise”, first full-length (two hours) musical comedy written and produced exclusive¬ ly for television. Audience response in¬ cluded over 300 letters from televiewers. Commercials, showing highlights from a current issue of Esquire, were pre¬ sented between acts. Produced by Charles M. Storm Co. Through Schwim- mer & Scott, and in cooperation with American Broadcasting Co., Esquire telefilmed its annual “Esquire All- American Boys Baseball Game” as a “special event” feature. Everfast Fabrics, Inc., 40 Worth St., New York 13. Featuring the work of well-known designers, Everfast spon¬ sored a fashion show over WABD in March 1944. Producer: Glorianne Lehr. The Fair, State and Madison Sts., Chi¬ cago. Hector Suyker, president. Larry H. Foster, sales promotion manager. This department store has presented a cosmetic demonstration program and a series of station-break pictorial slides at WBKB. Has recently inaugurated a series, “Let’s Go Teleshopping,” de¬ signed to aid shoppers by dramatizing the activities of various departments. Fashion Academy, 812 Fifth Ave., New York. Emil Hartman, director, is in charge of television. The Academy pre¬ sented an hour fashion show over WNBT which outlined the steps in creating a design in women’s clothes. Fashion Frocks, Inc., 3301 Colerain Ave., Cincinnati 25, Ohio. (See Keelor & Stites under Agencies and RKO Tele¬ vision under Producers.) Fawcett Publications, Inc., 1501 Broad- 98 ADVERTISERS way, New York 18. Publisher of Me- chanix Illustrated. (See Charles M. Storm under Agencies.) Marshall Field & Co., 222 N. Bank, Chicago 54, Ill. Department store. Pro¬ duces a weekly series of programs over WBKB. (See WBKB under Stations.) Firestone Tire & Rubber Co., 1200 Fire¬ stone Parkway, Akron 17, Ohio. Since 1943, Firestone has been a steady adver¬ tiser on WNBT. The company sponsors a weekly 15-minute program which has included a variety of films — musical, travel, novelty, industrial, etc. I. J. Fox, 393 Fifth Ave., New York 16. Howard P. Abrahams, advertising and publicity director, is in charge of tele¬ vision. In September 1938, Fox pre¬ sented a 20-minute program over WCBW, displaying the “world’s rarest furs”. In October 1944, Fox sponsored a program tied up with stories in Click and Collier's on the American fur farmer. This show, produced by Glori- anne Lehr, and two other 30-minute programs appeared on WABD. Fox ex¬ pects to use television from time to time when particular pieces of merchan¬ dise warrant special promotion. John Frederics, Inc., 29 E. 48th St., New York. In January 1943, John Frederics hats and accessories were advertised in a “what’s wrong with this picture” fashion quiz. Frederics hats have also been featured on other fashion shows over WABD. Producer: Glorianne Lehr. General Electric Co., Schenectady, N. Y. Owns and operates Station WRGB. Has advertised over WRGB independently and in cooperation with other compan¬ ies. (See Batten, Barton, Durstine & Osborn under Agencies.) General Foods Corp., 250 Park Ave., New York 17. Maker of Post-Tens. (See Benton & Bowles under Agencies.) General Mills, Inc., Chamber of Com¬ merce Bldg., Minneapolis 15, Minn. C. S. Samuelson, advertising manager. This manufacturer of Gold Medal Flour, Softasilk Cake Flour, etc., sponsored a special 28-minute film on the history of cake, titled “400 Years in Four Min¬ utes,” which appeared over WCBW. Gertz Department Store, 162-10 Jamaica Ave., Jamaica, L. I. (See Television Workshop under Producers; also Sta¬ tion W2XJT.) Gillette Safety Razor Co., 15 W. First, Boston, Mass. Has sponsored WNBT pickups of boxing matches from Madi¬ son Square Garden and St. Nicholas Arena since September 1944. Commer¬ cials are still pictures with studio voice, flashed on the screen between bouts or rounds. (See Maxon, Inc.: Agencies.) Gimbel Bros., Inc., Broadway at 33rd St., New York 1. Presented a half-hour fashion show on March 11, 1945 over WRGB-WNBT hookup. Featured Ade¬ laide Hawley. Agency: Abbott Kimball Co. Producer: Television Workshop. Gimbel’s Philadelphia store installed intra-store equipment and in collabora¬ tion with RCA-Victor, experimented from Oct. 26 to Nov. 14, 1945, with this form of promotion. Most important con¬ clusion : shoppers want buying informa¬ tion, interestingly presented. Entertain¬ ment is unnecessary. Gold Mark Hosiery Co., 392 Fifth Ave., New York 18. (See WNBT: Stations.) B. F. Goodrich Co., So. Main St., Akron, Ohio. (See Batten, Barton, Durstine & Osborn under Agencies and WRGB under Stations.) Gotham Silk Hosiery Co., Inc., 200 Madi¬ son Ave., New York 16. Sponsored show promoting Gotham Goldstripe Hosiery, in June 1944 over WABD. Producer: Glorianne Lehr. The Guide Magazines, 400 N. Michigan Ave., Chicago 11, Ill. Publisher of Click and Official Detective Stories. (See I. J. Fox under Advertisers and Charles M. Storm under Agencies.) Hamilton Watch Co., Columbia Ave., Lancaster, Pa. Robert Waddell, adver¬ tising manager. Presented time signal series at WRGB in 1943. Some were tied in with Red Cross, others with Blackstone Cigars. Agency : Batten, Barton, Durstine & Osborn. The Hat Corp. of America, 417 Fifth Ave., New York 16. J. R. Swan, Jr., advertising manager, is in charge of television activity. Started television experiments in March 1944. Produced a 15-minute variety show, a 15-minute fashion show with continuity and a 30-minute play with integrated com¬ mercial, all over WABD in behalf of Knox and Dobbs hats. (For Knox, see Geyer, Cornell & Newell under Agen¬ cies. For Dobbs, see Abbott Kimball.) Hat Style Council, Inc., 1123 Broadway, New York 10. (See WNBT under Sta¬ tions.) Hearst Magazines, Inc., 989 Eighth Ave., New York 19. Sponsored two fashion shows on WABD in the spring of 1944 for Harper’s Bazaar. (See Abbott Kim¬ ball under Agencies and Glorianne Lehr under Producers.) Herbert Manufacturing Co., 229 W. 36th St., New York. Maker of Herbert fab¬ rics. (See Norman D. Waters under Agencies and Television Workshop under Producers.) Hillman Periodicals, 1476 Broadway, New York 18. Publisher of Real Storg. (See Charles M. Storm under Agencies.) Richard Hudnut, 693 Fifth Ave., New York. Over WABD, sponsored three fashion programs in 1944 for the Du- Barry Success School. ( See Kenyon & Eckhardt under Agencies and Glori¬ anne Lehr under Producers.) Huffman Full Fashioned Mills, Inc., Meet¬ ing St., Morganton, N. C. Maker of Flatternit stockings. (See Norman D. Waters under Agencies and Television Workshop under Producers.) Industrial Undergarment Corp., Pough¬ keepsie, N. Y. Maker of Stardust slips, blouses and underwear. (See Norman D. Waters under Agencies and Televi¬ sion Workshop under Producers.) International Dress Co., 1400 Broadway, New York. (See Glorianne Lehr under Producers. ) International Shoe Co., 1507 Washing¬ ton Ave., St. Louis, Mo. Maker of Win- throp shoes, Queen Quality shoes, Red Goose shoes. A. L. Johnson, advertising- director, is director of television. Has presented four shows on WABD, two of them featuring stories from Collier’s and Woman’s Home Companion. First program, in August 1944, stressed pre¬ sentation of men’s shoes in a manner similar to that used in national adver¬ tising. Another program, promoting children’s shoes, filmed the history of the circus especially for television. Com¬ pany plans to continue experimentation. Agency: Westheimer & Co. Bud Gam¬ ble produced three of the programs. Fotosound Studios made the circus film. Georg Jensen, Inc., 667 Fifth Ave., New York 22. (See Glorianne Lehr under Producers.) Johansen Bros. Shoe Co., Inc., 3642 Lac¬ lede St., St. Louis 8, Mo. Sponsored a half-hour dramatic program in May 1945 over W6XAO. Plans experimental telecasts over television stations in the Midwest and East. Agency: Anfenger Advertising Agency, St. Louis. (See Dan B. Miner under Agencies.) Lamont, Corliss & Co., 60 Hudson St., New York 13. Maker of Nestle’s candy. (See Cecil & Presbrey under Agencies.) Lanz Fifth Avenue Corp., 668 Fifth Ave., New York. Sponsored a “Fashion Frolic” over WABD in October 1943. Producer: Glorianne Lehr. The Frank H. Lee Co., Danbury, Conn. Maker of Lee hats. (See WNBT under Stations.) Lentheric, Inc., 761 Fifth Ave., New York 22. (See Geyer, Cornell & Newell under Agencies.) Lever Bros. Co., 50 Memorial Dr., Cam¬ bridge, Mass. Maker of Rinso, Spry, Lifebuoy Soap, Lifebuoy Shave Cream and Vimms. A. E. Foster is television supervisor. In November 1943, Lever Bros, started a weekly, half-hour pro¬ gram over WABD, promoting several of its products in rotation. Series, which continued until September 1945, in¬ cluded experiments in serious drama, comedy, music, variety, fashion and audience participation, employing both live talent and film. Many advertising techniques have been tried. Lever Bros, has produced many shows at WNBT and is currently sponsoring a series of programs over WCBW. Future plans have not been announced. Agency : Ruth- rauff & Ryan. BBD&O handled a pro¬ gram for Vimms at WRGB. Libbey-Owens-Ford Glass Co., Nicholas Building, Toledo 3, Ohio. (See J. Walter Thompson under Agencies and WRGB under Stations.) Liberty Mutual Insurance Co., 175 Ber¬ keley, Boston, Mass. Sponsored a film produced specifically for television. (See Batten, Barton, Durstine & Osborn under Agencies and RKO Television under Producers.) 99 ADVERTISERS Liggett & Myers Tobacco Co., 630 Fifth Ave., New York 20. Maker of Chester¬ field cigarettes. (See Newell-Emmett under Agencies.) Loft Candy Corp.. 38-38 - 9th, Long Is¬ land City, N. Y. (See A1 Paul Lefton under Agencies and WABD under Sta¬ tions.) Look, Inc., 511 Fifth Ave., New York 18. WRGB adapted an issue of Look maga¬ zine for television. Recently, WCBW used the magazine’s “Photocrime” fea¬ ture as a basis for several detective dramas. Lord & Taylor, 424 Fifth Ave., New York 18. Department store. (See Glori- anne Lehr under Producers.) The George W. Loft Co.. 34-12 - 36th Ave., Long Island City, N. Y. Maker of Tangee lipstick. (See American Broad¬ casting Co. under Producers.) Luxuray Corp., 450 Seventh Ave., New York. Maker of Dove-Skin Knit Undies. (See Norman D. Waters under Agen¬ cies and Television Workshop under Producers.) R. H. Macy & Co., Inc., Broadway at 34th St., New York 1. Beginning in January 1945, Macy’s sponsored a series of 5-minute commercial programs, pro¬ moting Macy merchandise and services. Presented over WABD, the programs were linked together by a central figure, Martha Manning, who acted as guide on the teleshopping tours. Program signature was on film. Producer: RKO Television. Maritime Milling Co., Inc., Chamber of Commerce Building, Buffalo, N. Y. Maker of Hunt Club dog food. George E. Todd, vice-president, heads television activities. (See Baldwin, Bowers & Strachan under Agencies.) Mars, Inc., 2019 N. Oak Park Ave., Chicago, Ill. Maker of Mars candy bars. (See Grant Advertising: Agencies.) Alice Maynard, 558 Madison Ave., New York 18. Alice Maynard sweaters have been displayed on programs produced by Glorianne Lehr over WABD. McCall Corp., 230 Park Ave., N. Y. 17, N. Y. Presented program at WRGB in behalf of McCall’s Patterns. James McCreery & Co., Fifth Ave. & 34th St., New York 1. Department store. (See Television Workshop under Producers.) Miles Laboratories, Inc., 1127 Myrtle, Elkhart, Ind. A “Quiz Kids” adaptation of the radio program of the same name was presented over WABD in behalf of Alka-Seltzer. Producer : American Broadcasting Co. Agency: Wade Ad¬ vertising Agency. Miles also presented adaptation of a Satevepost “Earthworm Tractor” story for 1-A-Day Vitamins. Missouri-Pacific Lines, 13th and Olive, St. Louis, Mo. (See WNBT: Stations.) John Morrell & Co., Hayne St. and Iowa Ave., Ottumwa, Iowa. Maker of Red Heart dog food. (See Henri, Hurst & McDonald under Agencies.) Nash-Kelvinator Corp., 14250 Plymouth Rd., Detroit, Mich. In January 1945 the Kelvinator Division sponsored a show on WABD which featured prominent cartoonists. (See Geyer, Cornell & New¬ ell under Agencies.) National Distillers Products Corp., 120 Broadway, New York. On behalf of Duff-Gordon wines, Sam Medoff pro¬ duced a musical program over WABD in January 1945. National Peanut Council, Inc., 812 C & S National Bank Building, Atlanta 3, Ga. (See J. Walter Thompson under Agen¬ cies.) Nehi Corp., 10th & 9th Ave., Columbus, Ga. Maker of Royal Crown Cola. (See Batten, Barton, Durstine & Osborn under Agencies and WRGB under Sta¬ tions.) New York Dress Institute, 1450 Broad¬ way, New York 18. Sponsored a pro¬ gram over WABD in January 1943 showing how a dress manufacturing company functions. Producer: Glori¬ anne Lehr. No Mend Hosiery, Inc., 133 W. Berkley, Philadelphia 44, Pa. (See A1 Paul Lef¬ ton under Agencies.) Pal Blade Co., 595 Madison Ave., New York. Edwin Kraus, sales manager, is in charge of television activity. Has sponsored one program over WABD in behalf of Pal Hollow-Ground razor blades. Company is exploring television with a view to adding the medium to its regular advertising program. (See A1 Paul Lefton under Agencies.) Pan-American Airways System, 135 E. 42nd St., New York 17. Since March 1945, Pan-American has sponsored a weekly film travelog with studio com¬ mentary over WNBT. Advertising for Pan-American is also on film. Agency: J. Walter Thompson. Park & Tilford, 485 Fifth Ave., New York 17. Maker of Park & Tilford candy and Tintex dyes. Has sponsored six programs on WABD including “Television Follies of 1944”, a 2-hour musical variety show. Tintex first pre¬ sented a program in December 1943, and has since sponsored 25 television shows: drama, comedy, documentary, variety, etc. Agency: Charles M. Storm. Pond's Extract Co.. 60 Hudson St., New York 13. Maker of Pond’s Cosmetics. (See WRGB under Stations.) Press-On, Inc., 16 W. 61st St., New York 23. Maker of Press-On mending tape. In 1943 the company sponsored the first commercial series to be presented on WABD. (See Reiss Advertising under Agencies and Television Workshop under Producers.) The Procter & Gamble Co., 6th & Main, Cincinnati, Ohio. Maker of Duz and Ivory Soap. Gail Smith heads televi¬ sion activities. Procter & Gamble was one of the first advertisers on WNBT, sponsoring a baseball telecast in 1940. (See Compton Advertising under Agen¬ cies and WRGB under Stations.) Proctor Electric Co., 3rd & Hunting Park Ave., Philadelphia, Pa. (See New¬ ell-Emmett under Agencies.) Ben Pulitzer Creations, Inc., 1270 Broad¬ way, New York. Maker of Ben Pulitzer ties. To promote its neckwear, the com¬ pany sponsored 13 30-minute programs over WABD. Agency: Reiss Advertis¬ ing. Producer: Television Workshop. During 1945, Pulitzer presented a series of variety shows, “At Ease”, directed at servicemen. Producer: Bob Loewi over WABD. Quaker Lace Co., 330 Fifth Ave., New York 11. Hosiery. (See Cecil & Pres- brey under Agencies.) Radio Corporation of America, 30 Rock¬ efeller Plaza, New York. RCA- Victor Division sponsors a 15-minute weekly film program, “The World in Your Home”, over WNBT. (See J. Walter Thompson under Agencies.) Reader's Digest Association, Inc., Pleas- antville, N. Y. Publisher of The Read¬ er’s Digest. (See Batten, Barton, Dur¬ stine & Osborn under Agencies.) Remington Arms Co., Bridgeport, Conn. (See Batten, Barton, Durstine & Os¬ born under Agencies and WRGB under Stations.) Rival Packing Co., 4500 S. Tripp Ave., Chicago 32, Ill. Maker of Rival dog food. (See A1 Paul Lefton under Agen¬ cies.) Ronson Art Metal Works, Inc., Aronson Square, Newark, N. J. Alfred R. Nathan, advertising manager, is head of television. Promoting Ronson light¬ ers, “You’re the Light of My Life” was produced over WNBT, September 29, 1939. The show was the first commercial musical television program in the U. S. “America’s Merchant”, over WABD, September 10, 1944, was a dramatic offering. Ronson commercial was inte¬ grated into the show. Company will continue to experiment with the medium. Agency: Cecil & Presbrey. Helena Rubinstein, Inc., 715 Fifth Ave., New York 23. (See H. B. Humphrey under Agencies.) Saks Fifth Avenue, 611 Fifth Ave., New York 22. Department store. In Novem¬ ber 1943, over WABD, Glorianne Lehr produced two programs for Saks, dis¬ playing the store’s Christmas merchan¬ dise. Schutter Candy Co.. 4730 W. Augusta Blvd., Chicago 51, Ill. Maker of Bit O’ Honey and Old Nick Candy Bar. Schut¬ ter introduced Frank Fay to television on January 7, 1945 over WABD. A mid¬ dle commercial was used in the variety program, with Mr. Fay participating. Agency: Westheimer & Co. Producer: Bud Gamble. Shell Oil Co.. Inc., 50 W. 50th St., New York. (See J. Walter Thompson under Agencies.) Alexander Smith & Sons Carpet Co., Saw Mill River Rd., Yonkers, N. Y. Karl Knipe of Anderson, Davis & Platte, Inc., directs television activity for the company. In September 1944, Smith started a bi-weekly travelog program, “The Magic Carpet”, over WABD. The show combines live talent with actual travel scenes on film. Smith has also advertised over WRGB. Company plans to continue its experiments. Producer: Bud Gamble. 100 ADVERTISING AGENCIES Socony-Vacuum Oil Co., Inc., 26 Broad¬ way, New York 4. Distributor of Mobil- oil. In cooperation with Procter & Gamble, Socony-Vacuum sponsored a program seen first over WRGB, then over WARD. (See Compton Advertising under Agencies.) The Spool Cotton Co.. 745 Fifth Ave., New York. Winners of a sewing contest sponsored by Spool Cotton appeared on WARD in June 1944. Agency: Tom Fizdale. Standard Oil Co. of New Jersey, 26 Broadway, New York 4. Distributor of Esso Extra and Esso Motor Oil. R. M. Gray, manager of advertising and sales promotion department, heads television activities. In 19.39, company sponsored a 15-minute weekly news program on WNBT, produced by McCann-Erickson agency. “Your Esso Reporter” combined live talent and film, was on the air for ten weeks. It was the first commercial series prepared exclusively for televi¬ sion. In June 1945, Esso Marketeers sponsored films of General Eisenhower’s welcome in Washington and New York, and of other important events. These films were presented over WNBT and relayed to WPTZ and WRGB. Esso also sponsored films of New York’s Navy Day ceremonies in October 1945. An in¬ creased use of television advertising is contemplated. Agency: Marschalk & Pratt. Arpad Stern, 689 Fifth Ave., New York. Arpad Stern accessories have been fea¬ tured on fashion shows produced by Young & Rubicam and by Glorianne Lehr over WABD. Street & Smith Publications, Inc., 122 E. 42nd St., New York. Frances Hughes, special projects editor, and Geri Trotta, copy editor, are collaborators in charge of television. In December 1943, Glori¬ anne Lehr produced a program over WABD based on Mademoiselle fashion hints. In March 1944, Mademoiselle pre¬ sented “What’s New”, also over WABD, as an experiment in dramatizing edi¬ torial and advertising copy. The maga¬ zine gave a series of monthly programs over WCBW, beginning in November 1944. Titled “Women in Wartime”, these dramatizations were planned as a public service to help direct woman- power into the channels where needs were urgent and to show young women how to lead useful and happy lives in wartime. New shows are planned for WCBW presentation. Sun Oil Co., 1608 Walnut, Philadelphia, Pa. (See WNBT under Stations.) Swift & Co., Union Stock Yards, Chi¬ cago, Ill. Sponsored a program in con¬ nection with the Seventh War Loan. ( See American Broadcasting Co. under Producers and J. Walter Thompson under Agencies.) Felix Tausend & Sons, 114 Franklin St., New York. Maker of Cel-O-Sheen table cloths. (See Norman I). Waters under Agencies.) Textron, Inc., 350 Fifth Ave., New York 1. Fabrics. (See J. Walter Thompson under Agencies.) United States Rubber Co., 1230 Sixth Ave., New York 20. Charles J. Durban, assistant director of advertising, is in charge of television operation. John Hewlett is television producer. In 1941, the company presented one program. On May 6, 1945, it began a weekly series over WABD which continued into the autumn. These 30-minute programs, titled “Magazine of the Air”, combined film with live talent to promote the idea of “serving through science”. Keds, a U.S. Rubber product, recently sponsored Lou Little, Columbia University foot¬ ball coach, as the “Television Quarter¬ back” in a weekly talk over WNBT. Agency : Campbell-Ewald, Inc. The U. S. Time Corp., 31 Cherry Ave., Waterbury 91, Conn. Maker of Ingersoll watches. Sponsored time signals over WRGB. (See Compton Advertising- under Agencies.) Waift & Bond, Inc., 310 Sherman Ave., Newark, N. J. Maker of Blackstone cigars. (See Batten, Barton, Durstine & Osborn under Agencies and WRGB under Stations.) Waltham Watch Co., Crescent St., Wal¬ tham, Mass. Presented time signals over WABD on V-E Day program. (See American Broadcasting Co. under Pro¬ ducers, Waltham recently started a series of spot film commercials on WNBT. Agency: N. W. Ayer & Son. Weinreich Bros. Co., 383 Fifth Ave., New York. Maker of Marvella pearls. (See Abbott Kimball under Agencies.) Wildroot Co., Inc., 1490 Jefferson Ave., Buffalo 8, N. Y. Maker of Wildroot hair oil. (See Batten, Barton, Durstine & Osborn under Agencies and WRGB under Stations.) ADVERTISING AGENCIES Anderson, Davis & Platte, Inc., 50 Rocke¬ feller Plaza, New York. CO 5-4868. Karl Knipe, assistant to the president, heads television activities. Agency started in television on September 13, 1944, over WABD. For Alexander Smith & Sons Carpet Co., agency has presented a score of 30-minute bi-weekly travelog programs titled “The Magic Carpet,” which combine live talent with travel film. Producer: Bud Gamble. Agency plans further experiments with present show as well as new shows for other clients. Plans a series of daily noon hour shows for John Wanamaker at WABD. Anfenger Advertising Agency, 1706 Olive St., St. Louis, Mo. CH 6380. (See Dan B. Miner Co., under Agencies.) Atherton & Currier, Inc., 420 Lexington Ave., New York. MO 4-8795. Joseph Molnar, radio director, heads television. Agency believes television feasible and plans to enter the field with spot adver¬ tising for its clients. N. W. Ayer & Son, Inc., West Washington Square, Philadelphia 6, Pa. Television is handled at New York office: 30 Rocke¬ feller Plaza. Cl 6-0200. Don McClure, director of television. Agency com¬ menced television activity in September 1940 by presenting the first commer¬ cially sponsored football telecast, in cooperation with its client, Atlantic Refining Co. and with Philco Corp. Game was picked up from Franklin Field, University of Pennsylvania, Phil¬ adelphia. Presented first night football telecast, September 1941, Temple Uni¬ versity vs. University of Kansas. Also first sponsored network football game, September 1944, over WPTZ (Phila¬ delphia), WNBT (New York), and WRGB (Schenectady). Game was Uni¬ versity of Pennsylvania vs. Duke. In behalf of Atlantic, Ayer used commer¬ cials (both live talent and film) vary¬ ing from 45 seconds to 5 minutes, de¬ pending on where employed during game. Ayer has telecast about 40 pro¬ grams. Presented time breaks for Wal¬ tham Watch Co., on V-E Day show at WABD in cooperation with American Broadcasting Co. Agency plans to try everything. Believes rules can’t be made; that each product presents new problems. Baldwin, Bowers & Strachan, Inc., 370 Delaware Ave., Buffalo 2, N. Y. Wash¬ ington 6854. Everett L. Bowers, vice- president, heads television activity. Jack F. Higgins, radio director, is television producer. Agency presented a 15-minute program over WABD April 17, 1945, for Maritime Milling Co., in behalf of Hunt Club dog feed. Plans to continue testing possibilities of the medium. Ted Bates, Inc., 630 Fifth Ave., New York. Cl 6-9700. William Stuhler, radio director, and Jay Clark, radio executive, handle television. Agency is interested in this new medium and is studying its possibilities. Batten, Barton, Durstine & Osborn, Inc., 383 Madison Ave., New York. EL 5-5800. Frederick A. Long is in charge of tele¬ vision activities. Chet Kulesza is techni¬ cal supervisor of art and production, television department. BBD&O, early in 1943, began experimentation with many types of programs and commer¬ cials. Presented live talent and film programs on WRGB, WNBT and WABD. Agency’s television clients in¬ clude: General Electric Co., B. F. Goodrich Rubber Co., E. I. du Pont de Nemours & Co., Easy Washer Co., Remington Arms Co., Hamilton Watch, William Carter Co., Wildroot Co., Liberty Mutual Life Insurance Co., Reader's Digest, Waitt & Bond, Inc., and Nehi Corp. BBD&O expects to con¬ tinue intensive study of the medium as an advertising tool of the future and, whenever logical, to apply its findings for the benefit of its clients. Benton & Bowles, 444 Madison Ave., New York. WI 2-0400. Herb J. Leder, director of television. Agency presented a program for General Foods on WABD in October 1944. Plans to experiment in various phases of production. Bermingham, Castleman and Pierce, Inc., 136 E. 38th St., New York. LE 2-7550. Agency plans to enter field but has no definite schedule. The Biow Co., Inc., 9 Rockefeller Plaza, New York. Cl 6-9300. Harry Spears directs television activities. Agency handles Bulova time signals, first pre¬ sented on NBC in 1941. Plans to con¬ tinue in television, possibly producing 5, 15 or 30-minute programs for Bulova and later for other sponsors. 101 ADVERTISING AGENCIES Blaine-Thompson Co., 234 W. 44th St., New York. BR 9-2480. Mario Lewis, vice-president, is in charge of television. Plans to keep abreast of developments and to do experimental work with clients. Buchanan & Co., Inc., 1501 Broadway, New York 18, N. Y. ME 3-3380. Martin B. Jones, radio and television director. Writers: Ralph Rockafellow, Robert Smock. Agency handles advertising of Allen B. DuMont Laboratories, Inc.; has produced many WABD sustaining shows. Also programs in behalf of Adam Hat Stores, Inc.; Alden’s Chi¬ cago Mail Order Co.; and Carter Prod¬ ucts Inc., for Arrid. Plans a Spring 1946 series to sell DuMont Telesets over WABD. Campbell-Ewald, Inc., 10 Rockefeller Plaza, New York. Cl 7-6383. Richard Hackenger is in charge of television ac¬ tivity. (See U. S. Rubber Co. under Advertisers.) Cecil & Presbrey, Inc., 247 Park Ave., New York. WI 2-8200. Dell Crosby is director of radio, television and pub¬ lic relations. Television activity com¬ menced in 1943. Skeleton organization built. On Feb. 27, 1944, began weekly series (12 half hour programs) for Boots Aircraft Nut Corp. Transported members of the Mutual-aired radio show, “Wide Horizons,” from the radio studio to Station WABD where the show was televised with necessary adap¬ tations. In September 1944 produced “America’s Merchant,” a program built around a “Universal Store-Keeper,” who extolled merits of different prod¬ ucts. Agency has produced about 40 programs in all. Has presented shows for Ronson Art Metal Works, Inc., Quaker Lace Hosiery, Nestle’s (La- mont, Corliss & Co.), Omega Oil (Block Drug Co.), and Air Transport Associa¬ tion. Agency feels it has fine and compre¬ hensive backlog of information on tele¬ vision lighting, scenic effects, colors, use of miniatures, mechanical aspects, make-up, properties, dialogue, costumes and wardrobe research. Plans continued experimentation. Compton Advertising, Inc., 630 5th Ave., New York. Cl 6-2800. Wyllis Cooper, producer of television and motion pic¬ tures for the agency, heads television. James N. Manilla is associate producer of television and motion pictures. Activ¬ ity began in 1940: telecast Brooklyn Dodgers baseball game, with Red Bar¬ ber, for Ivory Soap. In July 1941 pre¬ sented “Truth or Consequences” with Ralph Edwards for Procter & Gamble when WNBT opened commercially. On February 11, 1944, produced a show on WRGB for Duz and Ivory Soap (both Procter & Gamble) and Mnbiloil (So- cony- Vacuum) . Program comprised an elaborate, costly puppet show for Duz ; Yvette, the songstress, for Ivory Soap; and Stan MacGovern, the cartoonist, for Mobiloil. On February 16 the show was presented on WABD. Compton also pre¬ sented two one-minute time signals for Ingersoll Watches, U. S. Time Corp. Compton advocates filmed television. Plans to refrain from live television production pending further experiments with motion pictures. Dancer-Fitzgerald-Sample, 247 Park Ave., New York. WI 2-4200. Agency definitely interested in field as an advertising medium; believes its clients will be ac¬ tive participants. Radio departments of branch offices are doing individual re¬ search and checking; information will be pooled later. Carl Stanton, radio ac¬ count executive in New York, will han¬ dle any activities planned in the near future. D'Arcy Advertising Co., 515 Madison Ave., New York. PL 8-2600. Paul Lewis, director of radio, supervises television work. Agency is surveying the field in a general way but does not anticipate any programming before autumn of 1946. Donahue & Coe, Inc., 1270 6th Ave., New York. CO 5-4252. A. Carl Rigrod, direc¬ tor of motion-picture-radio division, heads television. Agency is waiting for the right moment to enter the field, keeping motion picture accounts es¬ pecially in mind. Erwin, Wasey & Co., Inc., 420 Lexington Ave., New York. MO 4-8700. C. H. Cot- tington, director of radio, heads tele¬ vision. Agency is standing by for the present. William Esty & Co., 100 E. 42nd St., New York. CA 5-1900. Thos. D. Lucken- bill, vice-president and radio director, heads television activities. Kendall Fos¬ ter, radio producer and director, han¬ dles television production and direction. Agency is doing a weekly half-hour show for Super Suds on Station WABD for Colgate-Palmolive-Peet Co. Titled “Here’s How,” the program is directed at homemakers and gives them humor¬ ous skits and helpful hints for improved housekeeping. Other plans not ready for publication. Federal Advertising Agency, Inc., 444 Madison Ave., New York. EL 5-6400. John S. Davidson, vice-president and radio director, heads television activi¬ ties. Agency is preparing and discuss¬ ing experimental scripts and ideas. Foote, Cone & Belding, 247 Park Ave., New York. WI 2-6600. Hubbell Robin¬ son, vice-president, directs radio and television. Agency’s plans are now at the blueprint stage with shows of all types under consideration for clients. Albert Frank-Guenther Law, Inc., 131 Cedar St., New York. CO 7-5060. Rus¬ sell Clevenger, director of radio and television. Agency is interested in pro¬ grams with select audience appeal for use in marketing of quality products. Fuller & Smith & Ross, Inc., 71 Vander¬ bilt Ave., New York. MU 6-5600. Lee Williams, dirctor of radio, heads tele¬ vision in New York. Reed Drummond, motion picture director, is in charge in Cleveland. Agency has done two ex¬ perimental shows for clients, filming most of the material. Plans to continue experimentation. Geyer, Cornell & Newell, Inc., 745 5th Ave., New York. WI 2-5400. Don S. Shaw, radio director, heads television activity. A. J. Ghisalbert is in charge of television production. Agency pre¬ sented “Knox Magic Hat Shop,” 20- minute live fashion show featuring Knox Hats for Hat Corp. of America, over WABD, Oct. 10, 1944. On Jan. 23, 1945, presented “Fun in the Kitchen,” a 20-minute, live comedy program, also on WABD, for Kelvinator division, Nash-Kelvinator Corp. Show was tied in with the Society of Amateur Chefs. A series of similar Kelvinator shows is in the planning stage. Also new shows for Calvert Distillers Corp., Knox Hats and Lentheric. Gotham Adv. Co., 2 W. 46th St., New York. LO 5-2616. Arthur A. Kron, di¬ rector of radio, heads television. Agency is studying field, particularly the pre¬ sentation of fashion merchandise. Ex¬ pects to begin television activities in the near future. Grant Advertising, Inc., 1313 Gulf States Bldg., Dallas, Texas. Riverside 8121. Branch offices: New York — 30 Rocke¬ feller Plaza. Cl 5-4485. Chicago — 919 N. Michigan Ave. SUPerior 9052. R. E. Ellis, account executive for Mars, Inc., maker of candy bars, plans an adapta¬ tion of the radio show “Curtain Time” to be presented at WRGB in cooperation with the American Broadcasting Co. Grey Advertising Agency, Inc., 166 W. 32nd St., New York. CH 4-3900. Earl G. Thomas is director of radio and tele¬ vision. Agency publishes bulletin, “Tele¬ vision Grey Matter,” which discusses developments and attitudes in the field. Not ready to announce specific plans but has production ideas and commer¬ cial treatment for 17 clients in prepa¬ ration. Lawrence C. Gumbinner Advertising Agen¬ cy. 9 E. 41st St., New York. MU 2-5680. Paul Gumbinner directs television. Agency is studying the field, watching developments. Lester Harrison Associates, Inc., 341 Madison Ave., New York. MU 3-1267. Charles Harrison heads up radio and television activities. Agency presented a “Cavalcade of Corsets” in March 1945 over WABD for the Diana Corset Co., using properties loaned by the Brooklyn Museum. Producer: Television Work¬ shop. Future plans awaiting greater de¬ velopment of the medium. Henri, Hurst & McDonald, Inc., 520 N. Michigan Ave., Chicago. SUP 3000. David W. Dole, associate radio director, in charge of television. Initial activity was production of a three-and-one-half- minute film and disc, national spot, car¬ toon commercial on behalf of Red Heart Dog Food, over WBKB. This spot, re¬ sult of belief in agencies’ responsibili¬ ties in commercial field versus stations’ problems in program field, was designed to relieve harassed studio managers’ problems by supplying a projection- and-sound-room-only spot for use in a program schedule, between live shows. Production of spot was gauged econom¬ ically to pay off on estimate of com¬ mercial postwar operation in minimum of ten markets. Produced “Look at the News” in June 1945 over WBKB, for Acme Newspictures. Used stage-like presentation operated by a puppet. Johnny Acme. Pictures featured the life of General Hodges. Current news was also featured. Agency feels that commercial tele¬ vision is close, and is considering the medium in its planning for advertisers. Charles W. Hoyt Co., 551 5th Ave., New York. MU 2-0850. W. P. Smith, director of radio, will handle television activi¬ ties. Agency is awaiting further devel¬ opment before entering the field. H. B. Humphrey Co., 420 Lexington Ave., New York. MU 5-0993. H. B. Hum¬ phrey, Jr., vice-president, is in charge of television activity. Presented half- hour production, May 23, 1944, for Helena Rubinstein, WABD. Duane Jones Co., 570 Lexington Ave., New York. PL 3-4848. Walter Ware, in charge of television. Agency is study¬ ing production problems and working up several commercial experiments. These productions will be handled as an agency assignment, with clients brought in as proficiency is achieved. 102 ADVERTISING AGENCIES Kaplan, Siesel & Bruck, 424 Madison Ave., New York. PL 8-1254. (See West- heimer & Co. under Agencies.) The Joseph Katz Co., 444 Madison Ave., New York. WI 2-2740. Allen J. DeCas- tro is vice-president in charge of radio and television. The agency is experi¬ menting but has no programs planned at present. Keelor & Stites Co., 3001 Carew Tower, Cincinnati. PA 1310-11-12. Sam Mal¬ colm Levy, vice-president, is radio and television director. Agency presented a 30-minute, live talent and film program for Fashion Frocks, Inc., in September 1944 over WABD. Producer: RKO Tele¬ vision Corp. Kenyon & Eckhardt, Inc., 247 Park Ave., New York. PL 3-0700. William B. Lewis, vice-president and radio director, heads television activity. On March 1, 1944, agency presented 15-minute vari¬ ety program in behalf of Richard Hud- nut for the Du Barry Salon, at WABD. Agency plans experimental work in live and film television shows. Abbott Kimball Co., Inc., 250 Park Ave., New York. PL 3-9600. Cecil H. Hackett, vice-president and head of radio de¬ partment, is in charge of television ac¬ tivity, assisted by Miss Miriam Traeger and Miss Martha Pencilla. Early in 1944 agency produced six programs for Dobbs Hats, Harper's Bazaar and a number of products of other clients, in¬ cluding Queen Make dresses and Mar- vella pearls. The half-hour programs on WABD combined style shows and variety entertainment. On March 11, 1945, agency presented a half-hour fashion show for Gimbel Bros., Inc., over WNBT-WRGB network. The show featured Adelaide Hawley. Plans to con¬ tinue experimental work from time to time. Arthur Kudner, Inc., 630 5th Ave., New York. Cl 6-3200. Myron P. Kirk, radio director, handles television. Agency is studying and working with the field. Plans not ready for announcement. Al Paul Lefton Co., Inc., 521 5th Ave., New York. VA 6-4340. S. Carl Mark, radio director, in charge of television. Agency started in television March 1943. Produced one-act, 30-minute, live talent dramas for Rival Dog Food and No Mend Hosiery at WABD. Rival commercial employed a live dog accept¬ ing Rival and rejecting other unnamed brands. No Mend commercial used Powers models to display five different No Mend stockings. On Dec. 20, 1944, presented a 30-minute dramatic tele¬ cast for Loft Candy. Dramatized com¬ mercial featured children. On May 1, 1945, presented “The History of Shav¬ ing, or The Care and Feeding of Whiskers,” for Pal Blade Co., Pal Hol¬ low-Ground Razor Blades, over WABD. Program, one long commercial in sub¬ stance, portrayed shaving through the ages from a comic point of view. Future activity of agency depends on availability of personnel and unusual program ideas. Marschalk & Pratt Co.. 535 5th Ave., New York. VA 6-2022. John R. Allen heads television activities. Produced tel¬ evision’s first specially prepared, com¬ mercially sponsored series of programs : “Your Esso Reporter,” for Standard Oil Co. of New Jersey, promoting Esso Ex¬ tra and Esso Motor Oil on WNBT. Live talent and film were combined in 10-minute news programs. In 1945, for Esso Marketeers over WNBT, pre¬ sented the Eisenhower receptions, V-J Day celebrations, Charles de Gaulle and Gen. Wainwright arrivals. Also a 30-minute film, “Oil for Tomorrow,” over WABD. Plans a regularly sched¬ uled series of news telecasts. J. M. Mathes, Inc., 122 E. 42nd St., New York. LE 2-7450. William H. Vilas, director of motion pictures, heads television. Agency is primarily inter¬ ested in filmed programs, is doing ex¬ perimental work, and plans to enter television actively when a mass audi¬ ence is available. Has presented filmed spots for Spur, a Canada Dry product, over WABD. Maxon, Inc., 570 Lexington Ave., New York. EL 5-2930. Ed Wilhelm, radio ex¬ ecutive, heads television activity. On Sept. 8, 1944, commenced a series of boxing bouts in behalf of Gillette Safe¬ ty Razor Co., Boston, over WNBT. Bouts are presented twice a week dur¬ ing boxing season from Madison Square Garden and St. Nicholas Arena. Agency is also working with General Electric Co. on various programs. The Gillette series has been renewed for another year and agency plans to continue in this field. McCann-Erickson, Inc., 50 Rockefeller Plaza, New York. Cl 5-7000. Lloyd Coul¬ ter, vice-president in charge of radio, heads television. Before the war, agency produced programs for Standard Oil Co. of New Jersey and one other client. Recently, under the direction of George Pal, of Paramount Pictures, this agency has produced a technicolor film for tele¬ vision, sponsored by Gruen Watch Co. Plans to hold off active work until con¬ ditions in the field improve. McJunkin Advertising Co., 228 N. La¬ Salle St., Chicago. STAte 5060. Leroy Kling, vice-president, arranged for Chef Boy-Ar-Dee Quality Foods, Inc., to spon¬ sor four of the American Broadcasting Co., audience participation series titled “Ladies Be Seated.” These were pre¬ sented May 13, 20 and 27, and June 3, 1945, over WRGB, and were intensively merchandised in a large promotion book¬ let capitalizing on the televising of the product. Future plans indefinite. Dan B. Miner Co., Chamber of Commerce Bldg., Los Angeles. Richmond 3101. Roy Dempsey is television producer. Pre¬ sented half-hour dramatic program, May 14, 1945, for Johansen Bros. Shoe Co. (St. Louis), in behalf of Anfenger Advertising Agency (St. Louis) over W6XAO (Don Lee), Hollywood. Pro¬ gram combined film with live talent. Shoe commercial was integrated into a love story. Moser & Cotins New York City Corp., 420 Lexington Ave., New York. MU 3-9138. John A. Drake, director of radio, in charge of television. No im¬ mediate plans. Newell-Emmett Co., 40 E. 34th St., New York. AS 4-4900. Edward Franklin is in charge of television activities. Ran¬ som P. Dunnell is television producer. Started television activity in 1943 with idea of integrating commercial with dramatic script. Produced the following live shows on WABD: one-hour variety for Kirkman & Son; one-half hour dra¬ matic for Proctor Electric Co.; 45- minute musical for Liggett & Myers, combining live talent with film. Plans to continue on experimental basis. Paris & Peart, 370 Lexington Ave., New York. CA 5-9840. A. C. De Pierro, me¬ dia director, handles television. Agency does not plan to enter television actively until it becomes a mass medium influ¬ ential in the sale of packaged foods. Pedlar & Ryan & Lusk, Inc., 250 Park Ave., New York. PL 5-1500. E. G. Sisson, director of radio, heads televi¬ sion. Though agency has not been active to date, it plans to begin television operations early in 1946. At present, television studies are being made in connection with radio clients. Pettingell & Fenton, Inc., 247 Park Ave., New York. EL 5-2685. Charles B. Strauss, radio executive, in charge of television. No immediate plans. Picard Advertising Co., 250 W. 57th St., New York. CO 5-4121. R. B. Tucker, radio director, will supervise television work. Agency has been associated with television technically for many years and has an electronic engineer on its staff. No programming plans at the moment. Reiss Advertising, 221 W. 57th St., New York. CO 5-7733. Miss Gladys Kamer, radio and television director. On Aug. 2, 1943, began a series of 21 telecasts over WABD in behalf of Press-On, Inc., mending tape. Emphasized product dem¬ onstration. Used a puppet to enliven commercials. Press-On’s series, “Hobby Hall of Fame,” comprised 30-minute programs. Reiss also handled series of 13 30-minute programs, “Interesting People,” for Ben Pulitzer Creations, Inc., neckwear. Shows produced by Tele¬ vision Workshop. Rickard & Co., 330 W. 42nd St., New York. BR 9-1251. H. H. Sharman, direc¬ tor of media, will handle television. As this agency specializes in industrial ac¬ counts, it has no immediate television plans but is watching the medium’s po¬ tentialities for public relations work. Ruthrauff & Ryan, Inc., 405 Lexington Ave., New York. MU 6-6400. Leland F. Cooley, supervisor of daytime radio, is director of television. Ted Huston directs. Agency produced first pro¬ gram for Lever Brothers Co., Nov. 15, 1943. The weekly, half-hour program, “Wednesdays At Nine,” over WABD has continued ever since. Three Lever products are promoted, one each week; Rinso, Spry and Lifebuoy Soap. Pro¬ gram uses live talent for the most part, but also employs film. Is experimenting with drama, comedy, music, variety, fashion and audience participation. Fran Harris, handling television at the agency’s Chicago office produced a show for Acrobat Shoe Co. at WBKB in Oc¬ tober, 1945. St. Georges & Keyes, Inc., 250 Park Ave., New York. PL 3-6920. Victor Van Der Linde, television director. Has three clients interested in television. Work has started on three 15-minute shows, later to be expanded to a series, along industrial educational lines. Agency has completed a 15-minute commercial film and is experimenting with six 1-minute and six 4 -minute commercial films. A half-hour live show, first of a series, is also in preparation. Schwimmer & Scott Advertising Agency, 75 East Wacker Drive, Chicago 1, Ill. DEA 1815. Fred Vossee, account execu¬ tive for Esquire, Inc., publisher of Esquire and Coronet, arranged with American Broadcasting Co., for the filming of the annual “Esquire All- American Boys Baseball Game” for young boys, East vs. West. This film was televised over WABD, WRGB and WPTZ on August 30 and 31, and Sep¬ tember 3. Agency’s future television plans not ready for announcement. 103 PRODUCERS Alfred J. Silberstein-Bert Goldsmith, Inc., 9 E. 40th St., New York. MU 3-6232. Bert Goldsmith, vice-president, is direc¬ tor of television. In 1940, agency pro¬ duced animated cartoon weather fore¬ casts for Botany Worsted Mills. They were initially presented on WNBT, later at WABD, and currently are aired over WNBT. Small & Seiffer, Inc., 24 W. 40th St., New York. WI 7-8764. Agency has presented a series of commercial shows for Arrid ; plans to continue them in January. No member officially in charge of television. Charles M. Storm Co., Inc., 50 E. 42nd St., New York. MU 6-2820. Raymond E. Nelson, vice-president, is head of tele¬ vision. Started television activity on Jan. 5, 1944, over WABD. Is experi¬ menting with all types of television pro¬ gramming, including dramatic, variety, musical, fashion, educational, demon¬ stration and spot news presentations. Programs, varying from 30 minutes to two hours, have been presented for Tintex (25 times), Park & Tilford (3 times), Alfred Dunhill of London, Casual Clothes, Inc., Click, Official De¬ tective Story Magazine. Real Story Magazine, and Fawcett Publications ( Mechanix Illustrated) . Produced pro¬ grams for the U. S. Army, Red Cross and Fat Salvage campaigns. Presented a three-hour, spot news show on presi¬ dential election night. On Sept. 28, 1944, presented “The Boys from Boise,” an original two-hour musical comedy for Esquire. Believes key to television program success is showmanship. Agen¬ cy keeps file of audience responses, photographs and log book for future reference and guidance. J. Walter Thompson Co., Inc., 420 Lex¬ ington Ave., New York. MU 3-2000 Robert M. Gillham, vice-president in charge of television and films. Norman Rosen, television director. Agency pro¬ duced a 10-minute live dramatic pro¬ gram over WRGB for Libbey Glass Division, Owens-Illinois Glass Co., in behalf of stemware. Also produced a 15-minute, live, dance music program over WABD and WRGB, for the Na¬ tional Peanut Council. Presented a 1-hr. demonstration of blood plasma manu¬ Advance Television Pictures Service, Inc., 729 Seventh Ave., New York. BR 9-5600. Chas. A. Alicoate, president; F. E. Miles, secretary-treasurer. Production of film programs, stock film library, cutting rooms, private projection thea¬ tres, and film distribution service for television stations. Doug Allan, 56 W. 45th St., New York. MU 2-0178. Producer of “Thrills and Chills with Doug Allan” over WABD. Now in its fifth year, this program has invariably held top ratings since it first started on WNBT in August, 1941. Doug Allan interviews explorers and adventurers and together, via motion pictures, they take the audience on visits to far places. These interviews have provided the material for several books: “Lightning Strikes Once,” “Gamblers with Fate” and “One Step to Eternity.” American Broadcasting Co., Inc., 33 West 42nd St., New York. WI 7-1737. facture in Sept. 1943 at WRGB in col¬ laboration with the Red Cross and Reichel Laboratories, Philadelphia. Pro¬ moted fabrics for Textron, Inc., in a 20- minute live program over WRGB ; in addition, “What’s New?” for Shell Oil Co.; a dramatic program for Buxton, Inc.; and a show for the Association of American Playing Card Manufacturers, over the same station. While Don Mc¬ Neill and his “Breakfast Club” radio program were in New York on a Bond tour, an audience participation-enter¬ tainment program for Swift & Co. was televised, based on format of the “Breakfast Club,” over WABD. On March 26, 1945, agency inaugurated a weekly film-travelog series for Pan- American World Airways System over WNBT. Tracy, Kent & Co., 515 Madison Avenue., New York. EL 5-4404. Beth Crotty, radio and television director. Agency’s radio department is engaged in tele¬ vision research and expects to have many types of television shows ready for its clients in the near future. Wade Advertising Agency, 208 W. Wash¬ ington St., Chicago 6, Ill. State 7369. W. A. Wade, account executive for Miles Laboratories, Inc., maker of Alka- Seltzer and 1-A-Day Vitamins, handled “Quiz Kids Show,” an adaptation of the radio show of the same name, presented March 6 at WABD. Producer: Amer¬ ican Broadcasting Co. Warwick & Legler, 230 Park Avenue, New York 17, N. Y. MU 6-8585. Tevis Huhn, radio director, handled television show for George W. Luft Co., maker of Tangee Cosmetics. Filmed the Miss America beauty pageant at Atlantic City in cooperation with the American Broadcasting Co. and televised it over WABD, WRGB and WPTZ, September 11, 12 and 14, 1945, together with per¬ sonal appearances of the winner, Miss Bess Myerson. Norman D. Waters & Associates, Inc., 1140 Broadway, New York. CA 5-7430. Norman D. Waters, president, heads television activities. Adrienne Sickel, fashion director, assists. Agency has staged experimental television pro¬ grams since 1941. Has produced fashion shows, ballets, operettas, dramas, edu¬ PRODUCERS Paul B. Mowrey, manager of television. Harvey Marlowe, consultant producer. On Feb. 25, 1945, ABC began its tele¬ vision operations at WRGB with an adaptation of the radio show, “Ladies Be Seated” and scored the highest audi¬ ence rating of any show ever staged at Schenectady. Presented this show four times for Chef Boy-Ar-Dee Quality Foods, Inc. in cooperation with Mc- Junkin Advertising Co. Presented Don McNeill’s “Breakfast Club” at WABD for Swift & Co., in cooperation with J. Walter Thompson Co. Produced “Let¬ ter to Your Service Man” for John D^vid, Inc. Presented “Quiz Kids” for Miles Laboratories in cooperation with Wade Advertising Agency. Presented a special memorial program at WRGB on the death of President Roosevelt. Set up a film unit for coverage of spe¬ cial events and presented a V-E Day program at WABD; produced time breaks on V-E Day for Waltham Watch Co., in cooperation with N. W. Ayer & cational and variety programs at WABD. Agency has presented shows in behalf of Daly Bros. Shoe Co., for Air- O-Magic shoes for men; Industrial Un¬ dergarment Corp., for Stardust slips, blouses and underwear; Luxuray Corp., for Dove Skin Knit Undies; Felix Tau- send & Sons, for Cel-o-sheen table cloths; Black, Starr & Gorham; Herbert Mfg. Co., fabrics; Augusta Knitting Corp., men’s underwear; and Huffman Hosiery Mills for Flatternit stockings. Shows produced by the Television Workshop. Plans to continue television experi¬ mentation and increase activity as de¬ velopment of the medium warrants. William H. Weintraub & Co., 30 Rocke¬ feller Plaza, New York 20. Cl 7-4282. Theo. Gannon, director of radio produc¬ tions, is in charge of television. Agency is interested in television but has no immediate plans. Westheimer & Co., 315 N. 7th, St. Louis 1. GA 4080. W. H. Mullgardt heads television activities. Agency started in television in August 1944, over WABD, New York, with programs for Interna¬ tional Shoe Co., in behalf of Winthrop Shoes, for men; Queen Quality Shoes, for women; and Red Goose shoes, for children. Agency develops ideas for, and approaches to television commercials, leaving production of story material in hands of a television producer. In con¬ junction with Kaplan, Siesel & Bruck, New York, presented Frank Fay in a va¬ riety program, January 1945, on WABD, in behalf of Bit O’ Honey and Old Nick Candy Bars, for Schutter Candy Co. Bud Gamble produced some of the shows. Agency plans to continue with television experimentation. Young & Rubicam, Inc., 285 Madison Ave., New York. AS 4-8400. William E. Forbes is manager of television de¬ partment. Agency produced a series of 12 half-hour programs for Sanforized division (Cluett, Peabody & Co., Inc.) every other week on WABD. Titled “Fashions, Coming and Becoming,” the program employed a fashion news for¬ mat to promote the Sanforizing process. Agency plans to continue experiment¬ al television with interested clients. Son; covered the “Esquire All-Ameri¬ can Boys Baseball Game” for Schwim- mer & Scott; covered the Miss America Pageant in Atlantic City for Tangee cosmetics in cooperation with Warwick & Legler. Airs most special events over three stations — WPTZ, WABD and WRGB. Presented John Reed King’s “Record Shop” for 13 weeks at WRGB. ABC plans to continue working closely with agencies and clients in order to develop a practical system of television economics. Shares production costs with sponsors in cooperative programs. Associated - Radio -Television Producers, 11 West 42nd St., New York. LO 5-3710. Jay E. Kashuk, president; Lew Kashuk, vice-president and secretary; Robert Jay Fox, treasurer. Radio and television productions. Syndicated and custom-built transcriptions of spot an¬ nouncements, singing commercials, also live and transcribed programs. Produc¬ tion of television films. 104 PRODUCERS 0. Eleanor Balz, 132 E. 36th St., New York 16. MU 4-9014. Produced and di¬ rected shows for WRGB in 1943-44. Was production supervisor and motion picture film manager at WARD in 1944-45. Basch Radio Productions, 17 East 45th St., New York. MU 2-8877. Charles J. Basch, Jr., sales manager. Jay Strong, television director. Ideas, scripts, talent and production on live and transcribed programs; films and recordings. Cinetronics Corp., 106-8 West End Ave., New York. WA 9-4747. Joseph Seiden, president. Maurice Dichter, vice-presi¬ dent. Harold H. Seiden, treasurer. Mo¬ tion picture film producers for tele¬ vision, specializing in commercial docu¬ mentaries. Has presented films over WRGB and WABD, and produced films in cooperation with the International Motion Picture Co. and the American News Studio. Cine-Television Studios, 25 Vanderbilt Ave., New York 17. MU 5-2874. Fred Fiddler, president. Nathan Levins, chairman of the board. Facilities for live talent television rehearsals (3800 sq. ft. studio). Equipment includes dark room, projection apparatus and anima¬ tion devices. Specializing in producing 16 mm. telefilm for television and creat¬ ing visual symbols for television trade marks. Colonial Film Productions, 11520-2 Wash¬ ington Boulevard, Culver City, Calif. Associated with Pan-A-Pictures. Head¬ ed by Charles B. Brown and Colin McDonald. Organized late in 1945 to produce, book and distribute motion pictures for television, minute movies. Jack McCoskey is live action producer. Ted Collins Corporation, 1819 Broad¬ way, New York. Cl 7-0094. Ted Collins, president and producer. Sam Sehiff, talent and production. Program build¬ ing and producing. Patrick Michael Cunning Productions, 6530 Sunset Blvd., Hollywood, Calif. Hillside 5915. Patrick M. Cunning in charge of production. Marcia Drake, assistant to producer. San Francisco office: Mark Hopkins Hotel. Armand Piaggi, executive in charge. Georgia O’Davoren, assistant on production. Producers of radio and television pro¬ grams, transcriptions and television motioii pictures. Jimmy Daley, 1650 Broadway, Suite 405, New York. Cl 7-6883. Program ideas, casting, producing, booking. Has pro¬ duced many sustaining shows for WRGB. Bud Gamble, 129 East 58th St., New York. PL 3-3836. Television program consultant, Farnsworth Television & Radio Corp. Currently producing inde¬ pendently and with Loewi-Gamble Tele¬ vision Productions. In cooperation with Anderson, Davis & Platte, Inc., he has produced 20 half-hour programs, com¬ prising film and live talent, for Alex¬ ander Smith Carpet Co., over WABD. Has produced WABD programs for In¬ ternational Shoe Company’s Red Goose shoes, Queen Quality shoes and Win- throp shoes in cooperation with West- heimer & Co., St. Louis. Also WABD shows for Schutter Candy Co., and Ben Pulitzer Co. With Bob Loewi, produced “Laughtime” for WCBW. Thomas H. Hutchinson, 16 Ervilla Drive, Larchmont, N. Y., started his television activities in 1936. He has served as tele¬ vision program manager for NBC, tele¬ vision director for Ruthrauff & Ryan, and production manager for RKO Tele¬ vision. Mr. Hutchinson plans to set up an independent agency for television production, direction and counsel. Eleanor Lambert, Publicity, 598 Madison Ave., New York. PL 5-8580. Has han¬ dled shows at WABD for Everfast Fabrics, Gotham Hosiery, Coty, Esther Dorothy Furs and New York Dress In¬ stitute. Is interested in developing a technique for fashion presentations. Don Lee Productions, 5515 Melrose Ave., Los Angeles, Calif. Hollywood 8111. Clifford C. McDonald, recording super¬ visor. Program production and re¬ cording. Glorianne Lehr, Great Neck, L. I. Com¬ menced television production in Septem¬ ber 1943. Has produced 40 programs. Includes among her clients: I. J. Fox, Everfast Fabrics, Inc., New York Dress Institute and Gotham Hosiery. Pre¬ sented eight half-hour programs over WABD in cooperation with Abbott Kimball Co., Inc. for this agency’s ac¬ counts. Has produced pi-ograms in co¬ operation with Kenyon & Eckhardt, Inc. for Hudnut and Du Barry Success School. Advertisers promoting merchan¬ dise (on a participating basis) in her programs include: Georg Jensen, Inc., Lilly Dache, Arpad Stern’s accessories, Saks Fifth Avenue, Lanz Fifth Avenue, Lord & Taylor, Revlon, Ogilvie Sisters, Oshkosh luggage, I. Miller shoes, Alice Maynard sweaters, Alfred Dunhill- Mary Dunhill, John-Frederics hats and accessories, International Dress Co., Coty Salon, Click, Collier's, Mademoi¬ selle, Vogue and Harper's Bazaar. Miss Lehr acts as commentator or narrator in many of her shows. Bob Loewi, 515 Madison Ave. (WABD), New York. PL 3-9800. Produces inde¬ pendently and with Loewi-Gamble Pro¬ ductions. Handles “The ‘Ike’ on Sports” and other sustaining programs for WABD. Is currently producing a series titled “At Ease” for Ben Pulitzer Cre¬ ations over WABD; also “Laughtime” over WCBW. George Lowther, Roundhill Road, Scars- dale, N. Y. Scarsdale 3649. Independent radio and television writer-director-pro¬ ducer. Writes and directs Guy Lom¬ bardo radio show and Tom Mix radio show. Wrote and produced “Cathedral,” “Submarine,” “The Store Window” and other television originals for WABD in 1945. Produced special versions of “Dickens’ ‘Christmas Carol’ ” for WABD on Christmas Eve in 1943 and 1944. Harvey Marlowe is currently consultant producer for American Broadcasting Co., 33 West 42nd Street, New York. Has produced television programs since 1943, independently and for WOR at WABD. Has been associated with the following American Broadcasting Co. programs over WRGB and WABD: “Don McNeill’s Breakfast Club,” “Quiz Kids,” “On Stage Everybody,” “Woman of Tomorrow,” “Kiernan’s News Cor¬ ner,” “Letter to Your Serviceman,” and special V-E Day and V-J Day shows. William B. McGrath, 501 Madison Ave., New York. PL 3-3300. Heads up a package-show production group of pro¬ ducers, writers, directors and actors. As television director of WNEW, he has created and produced a half dozen shows at WABD. William Morris Agency, Inc., 1270 6th Ave., New York. Cl 7-2160. Executive- in-charge-of-radio : William B. Murray. In charge of television: Miss Selma Lee. Branch Offices: Chicago — 203 N. Wabash Ave. Wallace Jordan, execu¬ tive-in-charge. State 3632. Beverly Hills, Calif. — 202 N. Canon Drive. George Gruskin, executive-in-charge. Crestview 1- 6161. Cleveland — Keith Bldg. Pat Lombard, executive - in - charge. Main 1525. Production of package shows and talent for radio; suggestions and talent for package television shows. Primary interest is representation of attractions. Motion Picture Networks, 25 Vanderbilt Ave., New York. MU 5-2874. Films for telecasts. (See Cine-Television Studios.) Music Corporation of America, 745 Fifth Ave., New York. WI 2-8900. Vice-presi¬ dents: David A. Werblin, A. Bart Mc¬ Hugh, Charles Miller. Harold Hackett, vice-president and radio director. Roger Carlin, head of television department. Branch Offices: Chicago — 430 N. Mich¬ igan Ave. Maury Lipsey, manager. Del¬ aware 1100. Beverly Hills, Calif. — MCA Bldg., J. C. Stein, president. Taft Schreiber, vice-president. Bradshaw 2- 3211. Cleveland — Union Commerce Bldg. DeArv G. Barton, manager. Cherry 6010. Production, package shows and talent for radio and television. National Concert & Artists Corp., 711 Fifth Ave., New York. PL 3-0820. Al¬ fred H. Morton, president. O. O. Bot- torff, Marks Levine and Daniel S. Tut- hill, vice-presidents. Thomas Reilly, sec¬ retary-treasurer. Branch Offices: Chi¬ cago — Merchandise Mart. Sam Har¬ rington, manager. Superior 4042. Los Angeles • — Sunset at Doheny. Helen Ainsworth, manager. Crestview 1-7121. San Francisco — 111 Sutter St. Alex¬ ander Haas, executive-in-charge. Pro¬ gram production, talent, management. Ray-Tele, Inc., 604 Fifth Avenue, New York. BR 9-5365. Allen Kaye Martin, president. Package shows, electrical transcriptions, and talent. Richman-Sandford Productions, 10 East 43rd St., New York. MU 2-2044. Bill Richman and Ed Sandford, owners. Doris Colby, personnel director. How¬ ard T. Longfellow, research director. Ed Sandford, supervisor and director. Bill Richman, supervising writer. Hal Levey, music director. Radio and tele¬ vision program production. RKO Television Corp., 1270 Sixth Ave., New York, is a subsidiary of Radio- Keith-Orpheum Corp. CO 5-6500. Fred¬ eric Ullman, Jr., president of Pathe 105 PRODUCERS News, Inc., is president. Ralph B. Aus¬ trian is executive vice-president. RKO Television was formed in June 1944 to provide a program-building- service for television entertainment sponsors. Pro¬ duced a fashion show for Fashion Frocks, Inc., of Cincinnati, over WABD for Keelor & Stites Advertising Co. in Sept. 1944. Produced a movie short, ex¬ pressly for television, “Talk Fast, Mis¬ ter,” for Liberty Mutual Insurance Co., in cooperation with Batten, Barton, Durstine & Osborn, Inc., which was shown on WABD on Dec. 11, 1944, and later on the NBC-GE television net¬ work. Started a weekly series of five- minute programs in behalf of R. H. Macy & Co. on Jan. 3, 1945; a shopping service called “Tele-Shopping with Martha Manning.” (Has concluded 24 weeks of this program.) Covered the 1944 Republican and Democratic con¬ ventions in Chicago by film, which was flown to New York for showing on WNBT. Made a three-reel picture for each convention covering political his¬ tory of each party, which was telecast in conjunction with its respective con¬ vention pictures. Filmed V-E Day ac¬ tivities in New York for American Broadcasting Co., with showings the same night over WABD. Also covered the San Francisco Conference by film for WNBT. Plans to open a large mod¬ ern motion picture studio in Manhattan to film television programs for sponsors and agencies. Ross Federal Service, Inc., 18 E. 48th St., New York. PL 3-6500. Harry A. Ross, chairman of the board. Earl Ham¬ monds, president. D. A. Ross, general manager. W. E. McKee, in charge of television. Thirty-one branches through¬ out country. Television film exchange and distributing service. Henry Souvaine, Inc., 30 Rockefeller Plaza, New York. Cl 7-5666. Russell E. Dill, general manager. Executives and producers: Henry Souvaine, Max Chop- nick, Archibald U. Braunfeld, Geraldine Souvaine, Harry W. Hoff, Jr., Frank Phares, Harold V. Milligan. Live and transcribed package shows for radio and television. Scripts, production, and public relations consultants. Telecast Productions, Inc., 101 Fifth Ave., New York 3. AL 4-4300. Myron Zobel, president. E. A. Freeman, secre¬ tary. William S. Greene, Jr., treasurer. Package shows for radio and television. Televised Sports, Inc., 271 Madison Ave., New York 16. MU 5-7880. Don Spencer, president. Represents colleges and uni¬ versities in negotiations for the sale of television and film rights to sports events. Television Associates, Inc., 190 N. State St., Chicago, Ill. Franklin 5025. Charles L. Collette, president. Chester C. Wool- ridge, vice-president. E. C. Upton, sec¬ retary-treasurer. Service organization to the television industry, particularly in the promotion of Bill Eddy television gadgets and tools. Television Enterprises, Inc., 9130 Sunset Blvd., Hollywood 46, Calif. Crestview 6-6241. John W. Swallow, president. Commercial advertising films for tele¬ vision and theatres. Television Film Industries Corp., 340 Third Ave., New York. LE 2-6780-1-2-3. George H. (King) Cole, president. Com¬ plete film service for television stations and sponsors. Television Motion Pictures Co., 630 Ninth Avenue, New York. Cl 6-6417. Affiliate of Hollywood Pictures Corp. Jack Goldberg, president. D. E. Roberts, production manager. Ed Hurley, pub¬ licity. Has produced twenty 3-minute films for television. Stars include Lena Horne; Ammons and Johnson, piano duet; Ted Williams and Leo Reisman. Television Trade Marks, Inc. Corporation consists of Kent-Johnson (Allan Kent and Ginger Johnson, the singing com¬ mercial team). 34 W. 53rd St., New York, and Bond-Charteris Enterprises, 314 N. Robertson Blvd., Hollywood. Leslie Charteris, author of “The Saint” stories, and Anson Bond put their film studio and facilities to work on Army education films and Signal Corps docu¬ mentaries during the war, and have since concentrated on art education shorts and religious features. Kent- Johnson handles creative end of tele¬ vision commercial shorts — music, lyrics and gimmicks. Bond-Charteris handles the production end of films. Program for Gruen Watch Co., produced in co¬ operation with McCann-Erickson, will be broadcast at WCBW. Most films will be of 1-minute duration, using hand- carved puppet animation, each individ¬ ual short averaging $10,000 per minute. Planning development of station call letter designs and network identifica¬ tion film shorts. Television Workshop, 11 West 42nd St., New York. LO 5-1683. Irwin A. Shane, executive director. Commenced televi¬ sion production in April 1942, on WNBT. Starting October 27, 1943, pro¬ duced “The Hobby Hall of Fame,” 13- week series for Press-On Mending Tape, through Reiss Advertising Agency, on WABD. In January 1944, produced a second 13-week series, “Interesting Peo¬ ple,” featuring interesting and famous personalities, for Ben Pulitzer Ties. A third series, for 13 weeks, sponsored by Durez Plastics, in April 1944, was titled “Designs for Tomorrow,” and featured leading industrial designers. Since Aug¬ ust 11, 1944, the Workshop has pro¬ duced two programs per month for WRGB. These shows included dramas, comedies, light opera and mystery plays. Has presented programs for Gimbel Brothers, Philadelphia; McCreery’s, New York; and B. Gertz, Jamaica, L. I. Produced ten programs for ten different clients of Norman D. Waters & Associ¬ ates. The Television Workshop, through its affiliate, Television Publications, publishes Televiser and Tele-Viewer. Lee Wallace Teleshows, 56 East 53rd St., New York. EL 5-6794. Executive producer: Lee Wallace. Directors: Bob Emery and Ernest D. Glucksman. Formed 1945 to produce package shows for television — musicals, consumer quiz, sports, headline dramas, 1-minute time and weather announcements. Nationally represented by Wm. Morris agency. West Coast Sound Studios, Inc., 510 W. 57th St., New York. Cl 7-2062. Tele¬ movies. WNEW, 501 Madison Ave., New York, is owned by Greater New York Broad¬ casting Corp. PL 3-3300. William B. McGrath is television director. WNEW presented half-hour public service tele¬ vision programs over WABD every third Sunday for several months. Sta¬ tion has adapted radio shows for tele¬ vision to find out what principles are involved in video presentations; is train¬ ing its own staff of writers, production men, directors and engineers. WOR, Mutual Broadcasting System, 1440 Broadway, New York. PE 6-8600. Bob Emery heads television activities. Kay Emery (Mrs. Emery) assists in production. WOR commenced television experiments in July 1943 with a weekly hour on WABD and continued until the summer of 1945. Has experimented with all types of television production, includ¬ ing musicals, minstrels, drama, variety, audience participation and educational programs. Recently formed a permanent stock company of stage performers for regular presentation of plays. Company has extensive plans for operating its own television stations and studios. Drawing by Robert J. Day. Permission The New Yorker. Copyright The F-R Publishing Corporation. 106 STATION ACTIVITIES STATION ACTIVITIES Vv'ABD, 515 Madison Ave., New York 22. PL 3-9800. Owned and operated by Al¬ len B. DuMont Laboratories, Inc. Commercially licensed; also retains ex¬ perimental license W2XWV. Allen B. DuMont, president; Leonard F. Cramer, executive vice president; Samuel H. Cuff, general manager; Robert F. Jamie¬ son, assistant manager; Milton J. Alex¬ ander, advertising manager; Philip Fuhrmann, sales manager; Louis A. Sposa, program service manager; Sal¬ vatore Patremio, chief engineer. WABD (formerly W2XWV) has been on the air almost every week since June 25, 1942. It was the first station to invite advertising agencies and ad¬ vertisers to share its facilities and pro¬ duce experimental programs for the purpose of developing programming and commercial techniques in the new me¬ dium. The first commercial shows were presented on May 5, 1943 in behalf of Adam Hat Stores and Butterick Pat¬ terns. Advertising agencies and advertisers who have presented shows at DuMont’s station include: Charles M. Storm for Tintex, Hillman Publications and Park & Tilford; Reiss Advertising for Press- On, Inc.; Cecil & Presbrey for Boots Aircraft Nut Corp. ; Ruthrauff & Ryan for Lever Bros.’ Rinso, Spry, and Life¬ buoy Soap; A1 Paul Lefton for Rival dog food, Loft Candy Corp. and Pal Blade Co.; Kenyon & Eckhardt for various lines of fashions and cosmetics; Compton Advertising for Duz, Ivory soap and Mobiloil; Benton & Bowles for Post-Tens cereal; Newell-Emmett Co. for Chesterfield cigarettes and Proc¬ tor Electric Co.; Abbott Kimball for several fashion and cosmetic lines; J. Walter Thompson Co. for National Peanut Council ; Alfred J. Silberstein- Bert Goldsmith for Botany Worsted Co.; Anderson, Davis & Platte for Alexander Smith & Sons Carpet Co.; Buchanan & Co. for Chicago Mail Order Co., Adam Hats and sustaining shows for DuMont; Young & Rubicam for Sanforized; Campbell-Ewald Co. for U. S. Rubber Co.; American Institute of Food & Home Products for various food brokers; Marschalk & Pratt for Esso Marketeers. In addition, the Amer¬ ican Television Society, WOR, WNEW, Television Workshop, RKO Television and American Broadcasting Co., have made extensive use of WABD facilities. DuMont’s future plans include active cooperation with advertising agencies and their clients. Transformation of the great John Wanamaker Auditorium and adjoining space into a “television showplace” will be completed about February 1. This expansion provides WABD with an additional 4-camera television studio, 50' x 60' with a 50' ceiling and viewing balcony accommo¬ dating 700 guests; a 3-camera studio, 34' x 35', and a 2-camera studio, 20' x 38'. Programs will be interchanged with DuMont’s Washington, D. C. station early in 1946, thereby setting up a first leg of DuMont’s proposed network. WABD’s most successful shows, as indicated by audience return cards, have been audience participation shows (John Reed King — “Thanks for Look¬ ing”), adventure shows (Doug Allan — “Thrills & Chills”) and newscasts (Sam Cuff — “Face of the War”). WBKB, 190 North State St., Chicago. Randolph 5300. Owned and operated by Balaban & Katz Corp. Commercially licensed. Capt. William C. Eddy, who commanded “Radio Chicago”, huge Navy radio and radar school, has returned as television director. Warren Jones is program director; A. H. Brolly, chief engineer; Herbert T. Lyon, publicity director. First on the air in 1940 under Capt. Eddy’s direction, WBKB during the war turned most of its facilities over to the Navy’s radar training program; presented many shows promoting Navy radar recruiting and war bond sales. WBKB handles sponsored programs directly. Commonwealth Edison presents a weekly quiz show, “Telequizicalls,” and earlier sponsored “Cooking by the Dial,” and an every-other-week comedy drama, “Welcome to the Walkers.” Mar¬ shall Field & Co. sponsors a weekly variety show, “Wednesday Matinee.” Admiral Radio presents “Young Chi¬ cago,” a program for discovering and displaying high-school talent with a future in television. Elgin National Watch Co. offers a 3-minute time sig¬ nal. The Fair, Carson, Pirie, Scott & Co. and others are also clients. The station will continue testing new ideas in news presentation, drama, vari¬ ety, etc., in anticipation of large-scale television. Sponsors are invited to ex¬ periment under the station’s guidance. WCBW, 15 Vanderbilt Ave., New York, owned and operated by Columbia Broad¬ casting System, Inc. MU 6-6340. Com¬ mercially licensed. Transmitter in tower of Chrysler Bldg. Lawrence W. Loman is vice-president in charge of television ; Worthington Miner, manager of tele¬ vision; Dr. Peter C. Goldmark, director, department of research and develop¬ ment; Ben Feiner, Jr., assistant direc¬ tor, television programs; George Mos- kovics, commercial manager. Columbia first went on the air with a regular television schedule from July 1931 to February 1933, using a scan¬ ning method called the “flying spot.” On Sept. 3, 1940, Columbia demon¬ strated the first 3-color process (devel¬ oped by Dr. Goldmark) for television transmission within a 6 megacycle band. On July 1, 1941, WCBW began black-and-white telecasts on a 15-hour weekly schedule and tested many basic program formats: news, quiz shows, variety, open-forums, sports (with a studio audience), ballet. At the FCC’s suggestion live operations were reduced to four hours a week from June 1 to Nov. 27, 1942. After a wartime sus¬ pension, live program transmission was resumed on May 5, 1944 and has con¬ tinued on a 4-hour-a-week schedule since. WCBW has received awards for excellence in presenting the news, “The Missus Goes A-Shoppin’ ” and “Opin¬ ions on Trial.” Since July 16, 1945, CBS has invited commercial sponsors and agencies to participate in experiments with tele¬ vision program production. Benrus and Bulova watches sponsor spot commer¬ cials; Encyclopedia Britannica Films cooperates with WCBW on an educa¬ tional series, and Lever Bros, presents a group of programs. Columbia lists the following pro¬ grams in order of favorable public acceptance: 1 — The news; 2 The Missus Goes A-Shoppin’ ” (audience participation) ; 3 — “At Home” (in¬ formal variety program) ; 4— “There Ought to Be a Law” (open forum dis¬ cussion). Columbia believes many of its single shows, particularly dramatic pio- grams, have been effective, but finds it difficult to substantiate audience ac¬ ceptance unless a series following a regular format is presented. WNBT, 30 Rockefeller Plaza, New York. Cl 7-8300. Owned and operated by the National Broadcasting Company. Com¬ mercially licensed. Transmitter is lo¬ cated in tower of Empire State Build¬ ing. John F. Royal, vice-president of NBC in charge of television; Noran F. Kersta, manager of the television de¬ partment; O. B. Hanson, vice-president and chief engineer; John T. Williams, business manager; Reynold R. Kraft, sales manager. Experimental station W2XBS ( WNBT’s predecessor), “The Nation’s Pioneer Television Station,” was li¬ censed on July 19, 1928. NBC tested electronic television at the Empire State tower in 1934 and installed its television studios at Radio City in 1935. A broad¬ cast of the opening ceremonies of the New York World’s Fair, April 30, 1939 launched its public service program schedule. WNBT call letters went on the air along with commercial programs on July 1, 1941. The station now tele¬ casts regularly six days a week with a weekly schedule of 17 hours. NBC has pioneered in coverage of special events and sports, presents boxing from Madison Square Garden on Mon¬ days and Fridays; baseball from the Yankee Stadium or Polo Grounds once a week during the spring and summer; college and professional football, bas¬ ketball and hockey during the fall and winter. Recently, by film and direct pickup, WNBT has covered the home¬ coming of generals and admirals, V-E and V-J day celebrations and other im¬ portant current events. During 1942-43 more than 140,000 New York City air raid wardens received their basic train¬ ing via WNBT. Before the war, more than 130 ad¬ vertisers used NBC facilities to experi¬ ment with television. These included: Abraham & Straus, Bloomingdale’s, Aetna Life Affiliated Companies, L. Bamberger & Co., Botany Worsted 107 STATION ACTIVITIES Mills, Gold Mark Hosiery Co., Hat Styles Council, Inc., Frank H. Lee Co., Lever Bros. Co., Missouri Pacific Lines, Procter & Gamble Co., and Sun Oil Co. Present advertisers include: Botany Mills, Bulova Watch Co., Elgin Watch Co., Esso Marketeers, Firestone Tire & Rubber Co., Gillette Safety Razor Co., Pan-American Airways, RCA Victor, U. S. Rubber Co., and Waltham Watch. NBC plans to expand its coverage of spot news, special events, and sports as well as studio programming. WPTZ, Tioga and “C” Sts., Philadelphia. Neb. 5100. Owned and operated by Philco Radio & Television Corp. Com¬ mercially licensed. Ernest B. Loveman is vice-president, Television Broadcast¬ ing Division; F. J. Bingley, chief tele¬ vision engineer; Paul Knight, program manager; Clarence Thoman, director of special events; W. W. Merkle, opera¬ tions manager, and Rolland V. Tooke, commercial manager. WPTZ, on the air since 1932, has presented more than 9,000 hours of programs to date. Republican National Convention was televised in 1940. For the last five years, all University of Pennsylvania football games have been televised from Franklin Field (in co¬ operation with Atlantic Refining Co. and its agency, N. W. Ayer & Son, Inc.). Wrestling, boxing, ice hockey, tennis, the Ice-Capades and Ice Follies, have been presented from the Phila¬ delphia Arena. The Philadelphia Mum¬ mers’ Parade is another outside pickup. Studio shows have included educational and public service programs. On May 25, 1944, the first line-of-sight television relay station between New York and Philadelphia was put into regular op¬ eration. On April 17, 1945, the first television program ever broadcast from Washington, D. C., was transmitted to the television audience in Philadelphia via a new multiple relay television net¬ work, developed by Philco. Philco plans construction of a tele¬ vision broadcasting station in Washing¬ ton; further development of a Washing- ton-to-Philadelphia multiple link relay system to provide two-way service; ac¬ quisition of downtown television studios in Philadelphia, and construction of additional remote pickup equipment to provide better facilities. Since 1938 Philco has conducted ex¬ tensive research in television program¬ ming techniques. As a result of audience surveys it reports that on-the-spot re¬ mote pickups of sporting and news events, audience participation studio shows, variety television vaudeville shows, one-act plays, educational and informative telecasts and children’s programs are popular with its televi¬ sion audiences. WRGB, 60 Washington Ave., Schenec¬ tady, N. Y. Schenectady 4-2211. Owned and operated by General Electric Co. Commercially licensed. FCC has author¬ ized relay station, W2XGE, studio to transmitter link in Schenectady, and relay station W2XI, at Berne, a relay link connecting the station with New York. R. S. Peare is vice-president and manager of broadcasting; B. J. Rowan, assistant manager; W. J. Purcell, chief engineer, and G. E. Markham, program manager. WRGB has telecast more than 900 different programs in its five years of regular schedules. War bond and Red Cross drives have made extensive use of its facilities. Editions of the Albany Times-Union and New York Herald Tribune have been adapted to television along with material from national mag¬ azines such as American, Look and Yank. Boxing and wrestling matches, billiard demonstrations, calisthenics, tumbling exhibitions and ping-pong contests are presented. Through relay facilities, forming the first television network, WRGB presents programs from WNBT in New York every week. Advei’tisers who have presented pro¬ grams on WRGB include: Royal Crown Cola, Vimms, Goodrich Rubber, Ham¬ ilton Watch, Blackstone Cigars, Wild- root Hair Oil, Remington Arms, Easy Washing Machine, GE Mazda Lamp, GE Electronics, Carter’s Underwear, E. I. DuPont de Nemours & Co., Alex¬ ander Smith Carpet Co., Gimbel Bros., Chef Boy-Ar-Dee Spaghetti, Can Manu¬ facturers Institute, Vogue, Pond’s Cos¬ metics, American Association of Playing Card Manufacturers, Libbey - Owens Glass, Duz, Ivory Soap and Mobiloil. The station presented programs for U. S. Time Corp., McCall’s Patterns, Elizabeth Arden and Look. Audience rating of live talent pro¬ grams over WRGB place the different types in the following order : 1 — sports, 2 — quiz programs, 3 — light opera, 4 — variety shows, 5 — puppet shows, 6 — full-length plays, 7 — personalities, 8 — monologues, 9 — news. WRGB will continue its experimental programming, will try all types of programs in an effort to find more answers to the many questions of production technique. W2XJT, 148-18 Jamaica Ave., Jamaica, N. Y. JA 6-7362. Operated by Jamaica Radio Television Company, independ¬ ently owned by William B. Still. FCC has approved application for experi¬ mental license. Station will start oper¬ ation in the near future on Channel 13 (210-216 me. under the new alloca¬ tions). Its facilities, largely designed and built by Mr. Still, will eventually include a completely equipped studio for live broadcasts, motion picture film equipment, a control room, a 600-watt (peak) video and 150-watt audio trans¬ mitter, and a specially constructed steel tower 213 feet high. A volunteer program staff, under the supervision of Lenore Berse, program manager, and Miriam Tulin, production manager, expects to produce 1 hour of live programs a week and 3 hours of film. Present plans also call for broad¬ casting 8 to 10 hours per day of music over the audio channel. Mr. Still will head all engineering experimentation which includes development of a new electronic film scanning system, simpli¬ fication of present broadcasting equip¬ ment, and use of ultra-high frequencies. W6XAO, 3800 Mt. Lee Drive, Hollywood, Calif. Owned and operated by Don Lee Broadcasting System. Hollywood 8255. Experimental license, W6XAO, and commercial, KTSL. Lewis Allen Weiss, vice-president and general manager, heads television. Harry R. Lubcke is director of television. W6XAO began operation Dec. 23, 1931. Program log includes almost every type of presentation. Station has spe¬ cialized in special events and spot news coverage, using its remote unit to pick up such events as aquatic shows, fights, football and baseball games, circuses, parades and Hollywood Bowl celebra¬ tions. Programming during the war was limited to three hours of studio presentations on alternate Mondays and usually was tied in with the war effort. W6XAO rates drama and variety shows high in audience acceptance, along with remote pickups of sports and other 108 ORGANIZATIONS special events. It found that War De¬ partment documentary films were well received. The station will continue to vary its programs as much as possible in order to experiment with new de¬ vices and develop production techniques. W6XYZ, 5451 Marathon, Los Angeles. Hollywood 2411. Owned and operated by Television Productions Inc., subsidi¬ ary of Paramount Pictures, Inc. Paul Raibourn is president; Klaus Landsberg is chief television engineer. W6XYZ is experimenting with every type of live television program and is currently producing six programs per week. A comedy serial, “Embarrassing Situations,” was very favorably re¬ ceived. Stills selected from Paramount News, wrestling and “Tele-comics” are regular program features at present. W6XYZ rates programs, according to audience acceptance, as follows: (1) comedy serial, (2) variety show (vaudeville entertainment), (3) illus¬ trated news analysis, (4) wrestling, fencing and boxing (studio exhibition). Further technical and programming experimentation is planned, particularly greater utilization of motion picture techniques and of facilities made avail¬ able by the parent company. W8XCT, Cincinnati. Cherry 1822. Ex¬ perimental construction permit expired April 28, 1944. Application for exten¬ sion to complete has been made. Owned by the Crosley Corp., which was acquired by Aviation Corp. in 1945. Richard W. Hubbell, broadcasting pro¬ duction manager for Crosley, is the company’s television program head. Justin R. Duncan is chief television engineer. The station is not yet active in television broadcasting as the trans¬ mitter was being erected when the war caused postponement of activity. W9XAL, Kansas City, Mo. Owned by Midland Broadcasting Company — KMBC. Harrison 5852. Arthur B. Church, president, heads television; Robin D. Compton, technical director. Conducted first experimental operation in television between 1932 and 1937 in association with the First National Television Schools and presented a va¬ riety of programs from the laboratory studios. Experimental work continued after 1937 with studio demonstrations and outside demonstrations at social gatherings. These were not broadcast. Television laboratory and studio were maintained for experimental work in connection with schools of Midland Radio and Television, Inc. until Jan. 1, 1945. KMBC technical staff took over the direction of the laboratories when the Midland Schools were sold to G. L. Taylor, formerly vice president of the Midland Broadcasting Company and president of Midland Schools. At present, application has been made to the FCC for three frequencies in the television spectrum so that the best one for broadcasting in the Kansas City area may be determined experi¬ mentally. W9XZV, 6001 Dickens Ave., Chicago. Owned by Zenith Radio Corp. Berkshire 7500. E. F. McDonald, Jr., is president; Hugh Robertson, executive vice presi¬ dent; J. E. Brown, assistant vice presi¬ dent and chief engineer; and E. F. Classen, Jr., program director. W9XZV began operations with equip¬ ment tests for ten days in February, 1939; presented its first broadcast in March. A regular schedule — two hours per night, three nights a week, a half- hour at noon, five days a week — con¬ tinued until January, 1942. Shortly after the outbreak of war, the schedule was reduced to the use of motion pic- American Television Society, Inc., 271 Madison Ave., (Room 1705), New York 16. MU 5-7880. President, George T. Shupert, Paramount Pictures; vice president, David Hale Halpern, Owen & Chappell; treasurer, Don McClure, N. W. Ayer & Son, Inc.; and secretary, Alice Pentlarge, WQXR. The Society is composed of members from educational, cultural, industrial, advertising and other fields. It is dedi¬ cated to the advancement of television. Meetings are held at the Barbizon-Plaza, 58th St. and Avenue of the Americas, New York, on the second Thursday of every month, starting at 8 P.M. Panel discussion luncheons are held several times monthly, usually at the Hotel Sheraton, Lexington Ave., at 37th St., New York. The Society publishes the “ATS News” monthly, to keep its mem¬ bers informed on television activities. Television Broadcasters Association, Inc., 500 Fifth Ave., New York 18. LA 4- 4788. J. R. Poppele, Bamberger Broad¬ casting Service, is president; F. J. Bingley, Philco Radio & Television ture film for two hours, one night a week. Studio pickups were still used for announcements, War Bond posters, etc. W9XZV currently operates with this set-up. The war interrupted development of a commercial station for which a con¬ struction permit and call letters, WTZR, had been issued. Zenith was recently issued a construction permit for an experimental station, W9XZC, in the ultra-high frequency range, and plans experimental work in development of high definition, color television. Corp., is vice president; Will Baltin, secretary-treasurer; and O. B. Hanson, National Broadcasting Co., assistant secretary-treasurer. Association is or¬ ganized to develop and promote the television industry. Television Press Club of New York, Chair¬ man of board of governors, Stanley Kempner, Retailing Home Furnishings, Fairchild Publication, Inc.; vice chair¬ man, Lewis Winner, Communications ; secretary, Betty Forsling, Newsweek; treasurer, Clifford E. Denton, New York Daily News. The Press Club, a non¬ profit, unsponsored, informal group, is limited to the professional television press and writers covering television for newspapers, magazines, books, busi¬ ness press, films and radio. Holds monthly luncheon meetings. Television Producers Association, 1425 Broadway, New York 18. LO 5-4530. President, Bob Emery, WOR; vice president, William Wallace, WABD; secretary, Bob Anthony, WHN ; treas¬ urer, C. N. Van Auken, Biow Co., Inc. TELEVISION ORGANIZATIONS 109 CAREERS IN TELEVISION Every businessman, every professional man, every worker would do well to explore every angle through which his future may be related to this new medium. By DAN D. HALPIN _ Radio Corporation of America Past President, American Television Society © Baehraeh T he nation’s immediate employment problem is one of finding and creating jobs not only for returned fighting men, but also for many millions of others who need gainful employment. The American Legion program calls for the employment of 3,000,000 more people than are engaged in productive occupa¬ tions today. Altogether too much emphasis has been placed on the capacity of industry alone to provide jobs. We must bear in mind that only about 25 per cent of peacetime workers are employed by in¬ dustry. The rest are employed in other business occupations. Consequently, 23,- 000,000 of the 55,000,000 jobs sought by the Legion in its campaign to solve the postwar employment problem, must be in the sales, service, and distribution fields, according to Edward N. Scheiber- ling, National Commander of the Amer¬ ican Legion. If their commendable objective of “7,000,000 new jobs in service and dis¬ tribution, and a million self-employment places” is to be realized, it will “neces¬ sitate intensive selling and development of markets for the goods we can pro¬ duce.” Television can make no specific guar¬ antee of providing millions of jobs or even hundreds of thousands of jobs after the war. But this much is certain : It will provide many opportunities for new careers in the radio manufactur¬ ing, distribution, and broadcasting fields, and in such related industries as glass, plastics, metals, wood-working, transportation, building, machine tool and advertising. In order for us to determine the rela¬ tive size of the market for television home receivers at specified price levels, a survey was made in eleven represen¬ tative cities of a cross-section of the public according to age, income and sex. The question was asked, “Would you or your family consider buying a radio and television receiver if the price were $400?” To this, 10.3 per cent said “Yes.” To those who said “No” we said, “Would you pay $300?” The cumula¬ tive total reached 19.9 per cent. At $250, the cumulative total became 34.3 per cent and finally, when the price was put at $200, the cumulative total of people who said they would buy a tele¬ vision receiver was 61.3 per cent. The conclusion is obvious. When the radio industry produces a good television re¬ ceiver in the $200 price range, a high percentage of United States homes will buy television receivers as soon as service is available. The first television markets will be metropolitan New York, Philadelphia, Albany-Schenectady, Chicago and Los Angeles, where television stations are now operating — and serving a market of 7,254,588 wired homes. Networks Ready in Five Years Applications on file with the Federal Communications Commission, as of October, 1945, would serve an additional 7,704,066 wired homes in 35 cities. Therefore, stations active and proposed would serve 14,958,654 wired homes, or 51.7 per cent of the 28,915,000 wired homes of the United States. In addi¬ tion, the Federal Communications Com¬ mission, according to Commissioner E. K. Jett, expects an additional 150 appli¬ cations for tele stations during 1946. LOOKING through banks of overhead lights at a musical production in the WNBT studio. In approximately five years, coaxial cable and radio relay networks should link up television transmitters located in 157 key cities of the United States. Television program service would then be available to a primary market of 72,159,000 people, 17,252,000 wired homes and 61.5 per cent of the purchas¬ ing power of the United States. Shortly thereafter television should be available to an additional 10,000,000 people through secondary television network developments. By the end of the fifth full television production year, it is the judgment of qualified people that the anual radio¬ television retail billing will be at the rate of $1,442,000,000 annually. The attainment of this figure, it is believed, will make possible approximately 300,- 000 new jobs in the radio industry by the beginning of the sixth year after television goes ahead. These estimates are used in making our plans for personnel, facilities and financial investments in building, ma¬ chinery and development work. They are the result of detailed commercial research and analysis. This annual rate figure of $1,442,000,- 000 worth of retail sales for the com¬ bined television and radio industry is based on the assumption that the in¬ dustry can expand its television pro¬ duction facilities to build, in the fifth full production year, television sets at a rate of 5,000,000 to retail for an aver¬ age price of $200, and that these sets will be purchased by an eager public. This would actually be the sixth year of civilian production, for it will take about one year to organize the tele¬ vision production facilities to go for¬ ward on the scale outlined. It is interesting to note that the re¬ sults of the television market surveys made for us in August and December 1943 have since been corroborated by the many surveys made by organiza¬ tions not associated with the radio or television industry. For example, 32.4 per cent of Newsweek readers plan to buy television sets, making television the second choice after automobiles. At the Franklin Square Savings Bank, Hempstead, Long Island, 22 per cent of its Postwar Purchase Club ac- ( Continued on page 118) no ADVANCES IN LARGE SCREEN TELEVISION Progress along two lines — on direct-view and projec¬ tion types of home receivers — promises television au¬ diences steadily improving quality of visual reception. By D. F. SCHMIT _ Director of Engineering, RCA Victor Division, Radio Corporation of America I mages obtained on most prewar tele¬ vision receivers were about 1V2 by 9 inches. Because the size of the image determines the approximate number of persons who can satisfactorily view the screen of a receiver, a need was felt for receivers providing larger images, par¬ ticularly for use in commerce, industry, and educational institutions. Theatre television, of course, demands an even larger screen. Two methods of providing larger im¬ ages presented themselves. One was to build a receiver employing a larger cathode-ray tube; the other, to find a means of optically enlarging the image appearing on the face of the tube. Develop Projection Television Believing that many people will still prefer the direct-viewing type of set, especially for home use, we are develop¬ ing a cathode-ray tube which will pro¬ vide an image somewhat larger than those available before the war. Recog¬ nizing, however, that the size of a direct-viewing screen is limited by the size of cathode-ray tube it is practicable to manufacture, place in a cabinet and operate, we have also developed a re¬ flective optical system for projection of television images from the face of the tube onto larger screens. This system has been used success¬ fully to project television images onto a built-in home receiver screen 2iy3 by 16 inches — about the size of a full page of a newspaper, or five times the area of images obtained on a 12-inch prewar direct-viewing tube. And larger images can be projected by similar systems de¬ signed for use with screens remote from the receiver, such as would be used in schools, meeting rooms, and theaters. Home console models providing pro¬ jection-type television, FM (frequency modulation), and standard broadcast receiving facilities will cost initially about $450. Models equipped with direct- viewing picture tubes will be generally lower in price, and RCA-Victor will offer at least one table model priced at approximately $195. An obvious means of obtaining large images — to magnify them by placing a lens in front of the tube — has little practical value. The field is sharply lim¬ ited from which images can be viewed. The two basic problems of projection television are: (1) providing a cathode- ray tube capable of producing very bright pictures with the necessary reso¬ lution, and (2) providing an optical system that will project to the screen the largest possible percentage of the light generated by the tube. These problems were vigorously attacked, and very satisfactory progress was made. Intensive work on electron guns, lu¬ minescent materials, glass envelopes, and other components resulted in the development of cathode-ray tubes de¬ signed to operate at a rated voltage of 27,000 volts — nearly four times the vol¬ tage used in prewar direct-viewing tubes — and capable of producing much brighter images. These tubes, also made substantially smaller and lighter, tend to compensate for the size and weight of the optical system, and may mean lower tube replacement costs. The problem of developing an effi¬ cient optical system at first appeared to be very formidable, due largely to the nature of the light source. For prac¬ tical purposes, the luminescent screen of a cathode-ray tube radiates light as a perfect diffusing surface. In pro- INGENIOUS: Broken lines indicate the path of light beams in the Schmit optical system. jecting light from such a source onto a viewing screen, a conventional F:2 movie projection lens is capable of col¬ lecting, at most, only 6.25 percent of the light emitted by the tube. An optical system was sought which should be able to focus large fields — up to 50 degrees - — with an efficiency of 20 to 40 percent. Plastic Lens Cuts Cost The answer was found in a reflective optical system consisting of a spherical front surface mirror and a weak aspher- ical correcting lens, the latter located at the center of curvature of the mir¬ ror. A handicap of this system, for use in a home receiver, was the high cost of the aspherical lens. This has been overcome by the development of ma¬ chines for making aspherical molds and RCA’s development of a process for molding aspherical lenses from plastics. The spherical mirror may be visual¬ ized as a shallow bowl, with its reflec¬ tive coating on the concave surface. The lens, molded of clear methyl methacry¬ late resin, is flat on one side, with the opposite surface rising slightly at the center and at the edges, but depressed in the intermediate area. Its function is to correct the spherical aberration of the mirror and bring the image to a sharp focus on the screen. The system is mounted with the picture end of the cathode-ray tube protruding through an opening in the center of the lens and facing the cen¬ ter of the mirror. Images appearing on the face of the tube are picked up by the mirror and reflected though the lens to the viewing screen. For home re¬ ceivers and other systems employing built-in screens, images are projected onto the back of the screen. The great light-gathering power of this type of optical system makes it possible to transfer to the viewing screen about six times as much light as could be delivered by a conventional F:2 lens, without loss of image quality. Other RCA developments contribut¬ ing to the quality of large-screen tele¬ vision reception include improvements in built-in viewing screens, and an automatic frequency control system which virtually eliminates picture dis¬ tortion resulting from automobile igni¬ tion and other noise impulses. Ill TELEVISION VOCABULARY Amplitude Modulation (AM) — A system of modu¬ lation in which the envelope of the transmitted wave contains a component similar to the wave form of the signal to be transmitted. Animation — A series of drawings presented in rapid succession to give the illusion of motion. More par¬ ticularly in television, any moving devices used on graphic material such as maps or charts. Antenna — A conductive structure used for radiating or receiving radio frequency (RF) waves. The over¬ head horizontal portion was formerly called an aerial. Aspect Ratio — The numerical ratio of frame width to frame height, as transmitted. Audio — An adjective commonly used in connection with transmission and reception of sound. (Latin: “I hear.”) Band — As used in radio, the range of frequencies within fixed upper and lower limits, to be used for a definite purpose as allocated by the FCC. For example, the standard broadcast band lies between 500 kc and 1600 kc. Band-width — That portion of the radio spectrum necessary to the transmission of information either aural or visual. For example, 10 kc band-width is required for the broadcast band as opposed to 6 Me band-width required for present television band. Future television contemplates a 16 Me band-width. Blanking — That portion of a television video signal employed to blank out the cathode-ray beam as it flies back from right to left (as viewed from front) and from bottom to top of picture. Bloom — A condition of excess brightness in the cathode-ray tube that tends to obscure picture detail. Break — A temporary suspension of a program or program schedule, usually for station identification. Bretzicon — A device, invented by Rudy Bretz of CBS, for making animation on graphic material without stop motion. Used mostly for news presenta¬ tions or documentary programs involving maps and charts. Brightness control — Control employed on a televi¬ sion receiver to regulate the over-all brightness of the picture. Camera tube — An electron tube employed in tele¬ vision to translate a scene into the electrical im¬ pulses that correspond to the light rays reflected from the scene. The iconoscope, orthicon, and image dissector are types of camera tubes. Carbon arc — The brightest source of illumination available for television studio lighting. Light is pro¬ duced by means of burning carbon. Carrier — The high frequency radio wave generated by a transmitter that may be modulated to carry audio or video information, i.e., voice, music and pictures. Carrier frequency — The frequency of the unmodu¬ lated carrier wave. Cathode — The part (electrode) in an electron tube that gives off electrons. Some tubes employ cathodes that emit electrons when heated, others (phototubes) utilize cathodes that emit electrons when exposed to light. Cathode-ray tube — An electron tube in which the stream of electrons from the cathode is formed into a pencil-like beam and directed by means of either a magnetic or an electro-static field at a fluorescent target (screen) located at the end of the tube. The fluorescent screen glows wherever the beam strikes it. Catwalk— An overhead structure in television studios which gives a technician footway to adjust banks of lights or other ceiling equipment. Centering — See Framing. Close-up — A shot taken at close range to include the head and shoulders, or head only of a subject. Coaxial cable — A special type of cable that is capable of carrying an unusually wide band of frequencies with extremely small losses. Such a cable in its simplest form consists of a hollow metallic con¬ ductor with a wire confined along the center of the hollow tube. Contrast — The ratio between the black and white portions of a picture. Pictures with high contrast have deep blacks and brilliant whites. Low contrast pictures have an over-all gray appearance. Contrast control — Control employed on a television receiver to regulate the video signal strength. Crane — The swinging arm of a camera dolly which gives the camera flexibility of motion. Cut — An abrupt transition from one image to an¬ other, done instantaneously by pressing a button which puts one camera on the air and cuts out the other. Also known as switching. Decibel — The unit usually used for measuring the volume of sounds; also used to indicate gain or relative level of power or voltage. Definition — The power of a lens to give a distinct image, or the distinctness of the image as seen on a television screen. Deflection — The movement of the cathode beam in a cathode-ray tube by electro-static or magnetic fields. Deflection yoke — The magnetic device used to di¬ rect the cathode beam in a cathode-ray tube when magnetic deflection is employed. The deflection yoke consists of coils mounted externally about the neck of the cathode-ray tube. Depth-of-field — The distance between the closest point to the lens and the farthest point from it at which an object will appear in focus without ad¬ justment of the camera. Not to be confused with depth-of-focus. Depth-of-focus — The distance between the closest point behind the lens and the farthest point behind it at which an object in front of the lens will appear in focus. Dipole antenna — An antenna that is electrically bal¬ anced and fed at its electrical center. Commonly consists of two conductors, usually of equal length and extending in the same straight line. Lead or feeder wires are connected at or near the inner ends. For short waves the physical dimensions are such that the antenna may consist of self-supporting metal rods or tubes. Direct-view screen — The screen-face of a cathode- ray tube. It presents the primary television picture directly to the audience. Distinguished from the projection screen in which the image is passed through a series of mirrors and lenses before being viewed. Dissector tube — A special type of camera employed in the Farnsworth system of television. Dissolve — The simultaneous fading out of one pic¬ ture and fading in of another. Used for bridging a gap in time or space without breaking the con¬ tinuity of action. Dolly — A movable stand on which a television cam¬ era or other equipment may be mounted to permit easy mobility and flexibility. Dollying — A camera technique in which the shot is taken as the camera moves toward or away from its subject. Doughnut — The large circular portion of a trans¬ mitting antenna ; the part from which audio waves are broadcast as distinguished from the crossbar or turnstile part from which video waves are broadcast. Electric eye — Popular expression used for a photo¬ tube or a photo-electric device. Electromagnetic focussing — System in which mag¬ netic fields parallel to the motion of the electrons are used to confine them to a narrow beam. Electron — The unit of negative electrical charge. This is the unit of electricity that is released by the cathode in an electron tube. Electron gun — That part of a cathode-ray tube in which the electrons are emitted, formed into a beam and deflected. Electron beam — A focussed stream of electrons such as is employed in a cathode-ray tube. Electron tube — A device usually consisting of an evacuated glass or metal container and containing a cathode, an anode and frequently more electrodes for controlling the volume and direction of flow of electrons (an electric current) through the vacuum or contained gas. Electrostatic focussing — System in which electrical fields are employed to confine the flow of electrons to a narrow beam. Fade-out — A camera technique in which a scene gradually gives place to complete darkness. Fading — Variations in radio signal intensities usually caused by atmospheric changes taking place in the path of the transmission. Fidelity — In radio and television, the faithfulness with which a system reproduces sound or picture signals. Field — One set of scanning lines making up a part of the final picture. According to present stand¬ ards there are two fields to each frame, each field consisting of 26254 lines. These are. interlaced to form 30 complete frames per second. Film clip — A sequence of material recorded on film that is inserted into a “live talent” studio pro¬ duction. Used to present scenes or action not obtain¬ able in the studio. Filter — In radio usage a selective circuit that is designed to separate signals according to frequency. A filter passes only a certain desired range of fre¬ quencies and excludes any undesired frequencies that may be present. Floor manager — The supervisor of the technical crew and trouble-shooter who remains on the floor of the studio during rehearsals and telecasts. Fluorescent — Possessing the property of giving off light when activated by another light source or by electronic energy. Fluorescent lamp — A “cold” form of illumination which can distribute light evenly over a large area in a television studio. Light is produced by elec¬ tricity passing through a tube coated on the inside with fluorescent material. Fluorescent screen — The chemical coating on the inside of a cathode-ray tube that emits light or glows when bombarded by the electrons of the cathode beam. Focus — In cathode-ray tubes this refers to the width and sharpness of the individual spots or lines on the fluorescent screen. Also refers to the optical adjustment of camera lenses. Focussing control — Control employed on a television receiver or oscilloscope to bring out clear definition. Frame — One complete picture. Thirty frames per second are shown on a television screen. (Twenty- four frames per second are used in motion pictures.) Framing — The director’s and cameraman’s deliberate effort to compose a television picture artistically. Framing control — Control knob or knobs on a tele¬ vision receiver employed to center the picture on the screen vertically or horizontally. Frequency — The term applied to the repetition rate of a voltage, a current, a sound wave or any other periodic function. Frequency modulation (FM) — A system of modu¬ lation of a radio signal in which the frequency of the carrier wave is varied in accordance with the signal to be transmitted while the amplitude of the carrier remains constant. Ghost — In television an undesired secondary picture caused by the signal from the transmitter reaching the receiver by more than one path. Ghosts or ghost images are usually caused by the signal being re¬ flected from objects such as tall buildings and other structures in the immediate vicinity of the receiver. Headroom — The distance, on the television screen, between the top of the head of a person being televised and the edge of the picture. 112 REQUIRES VISION — First in tlie West actually to buy a television site of the height considered most ad¬ vantageous for both Television and Frequency Modulation Broadcasting. Don Lee's purchase of a site on the top of Mt. Wilson, home of the world-famous Mt. Wilson Observatory, will give KHJFM and W6XAO a transmitter height of 5,900 feet for Television and Frequency Modu¬ lation Broadcasting. No finer location could he obtained in all Southern California. DON LEE BROADCASTING 5Y E M Hold— A di rection to a cameraman, instructing him to keep his camera where it is in readiness for the next shot. Horizontal Centering control — Control employed in television to regulate the position of the picture with respect to the axis of the cathode-ray tube. Horizontal hold control — Control employed in tele¬ vision receivers for adjusting the number of lines per second to correspond with the transmitter. Iconoscope — An RCA type of television camera tube that employs a high speed electron beam. Cur¬ rently used in studio cameras. (See Mosaic.) Image dissector — See Dissector tube. Incandescents — Hot bright lights, similar to those in most home fixtures, widely used in television studios. Interlacing — A scanning process in which suc¬ cessively scanned lines are spaced an integral number of line-widths, and in which the adjacent lines are scanned during successive cycles of the field fre¬ quency scanning. Ion spot — A discoloration occurring at the center of the screen-face of a cathode-ray tube caused by heavy negative ions striking it. Formerly quite trou¬ blesome. A number of systems are now in use to trap these negative ions and prevent the formation of the ion spot. Kinescope — RCA designation for the cathode-ray tube employed in television receivers for translating electrical impulses into picture elements. Klieg light — A type of powerful incandescent lamp used for spotlighting and modeling. It is usually mounted on a mobile base. Lap dissolve — A slow dissolve between two pictures in which the two images remain superimposed on the screen for a few seconds. Line — A single strip across a picture, containing highlights, shadow and half-tone?. The path cov¬ ered by the moving electron spot in a cathode-ray tube. Variations in the intensity of this spot create portions of the picture. Present U. S. systems em¬ ploy 525 lines for a complete picture. Linearity — The uniformity of distribution of a reg¬ ular pattern on a television picture tube. Line of sight —The unobstructed path between two points. Important in high frequency radio wave transmission. Live talent — Any studio presentation in television or the people who appear in it. Distinguished from film programs. Long shot — An establishing shot taken from a di - tance that is sufficient to include a complete view of the scene. Lumen — -Unit used for the measurement of light flux. One foot-candle is equal to one lumen per square foot of surface. Luminescent — Possessing the property cf producing light without the generation of heat. Megacycle — When used as a unit of frequency, I\lc stands for 1,000,000 cycles per second. Mercury vapor lamp — A “cold” light, coming into wide use for overhead foundation illumination in television studios. Electric current vaporizes mer-ury in a water-cooled tube, thus producing light without much heat. Microphone — A sensitive device used for converting sound waves into electrical impulses of varying cur¬ rent and transmitting them. Microphone boom — A device, usually in the form of an adjustable crane, for suspending the micro¬ phone used in television above the area being tele¬ vised. Microwaves — Radio waves of extremely high fre¬ quencies, having wave-lengths of less than one meter, or greater than 300 megacycles. Medium shot — A shot taken from middle distance, or from knee level to above the head of the subject. Modulation — A process in which the character of the carrier wave may be varied in frequency, phase or amplitude in accordance with the information to be transmitted. Monitor — Any receiver or speaker on the strtion circuit on which the quality of the program or rehearsal can be watched or heard. Monitoring — The technique of controlling the trans¬ mission of the picture or sound tied in radio, tele¬ vision and motion picture work. Monoscope — A special cathode-ray tube that is de¬ signed to produce a single siationary picture pat¬ tern useful in testing or adjusting television equip¬ ment. Montage — See Superimposure. Mosaic — The photo-semi i.e screen mounted In an Iconoscope. The picture is optically focussed upon the mosaic and then scanned by the electron beam from the election gun. So named because of its similarity to that form of art in which many bits cf tile are combined to form a picture. Mn! lip-avis tra:o:rsia:io:i — A condition wherein the radio signal from a transmitter t ravel s to the re¬ ceiver by m )ie than one route. Usually re ults in reflections and usually causes ghost images on re¬ ceiver screen. NegaU'/c ghosts — Cho-t images in which the black and white areas are reversed. 0:;-scrs3n voice — The voice of a pc—on not ap¬ pearing in the television picture. Used for narra¬ tion, announcements, etc. Orthicon- — A camera tube that utilizes a low-meed electron beam. Superior in sensitivity to the Icono¬ scope but inferior to it in resolution. Usually em¬ ployed in field cameras for out-of-doors televising. Oscillograph or Oscilloscope — An apparatus that produces a continuous curve to represent the values of a varying electrical quantity. Used as a test instrument to show the wave form of any varying voltage or current. Panning — (From “panorama”). A horizontal sweep of the camera. A camera technique in which a large arc of the scene is shown by turning the camera without changing its position. 113 Pedestal — The DC level or reference line on the complete television waveform above which the video information is inserted. Phase — The time relationship between maximum points of two recurrent electrical quantities such as voltage, current, etc. It is expressed in degrees of a circle. Phase-shift — Any changes taking place in the phase relations of current or voltage. Photoelectric cell — A light-sensitive cell capable of translating variations in the light falling upon it into corresponding variations in voltage, current or resistance. Photoelectric emission — The phenomenon of elec¬ trons being emitted from certain materials when they are exposed to light. Phasemajector — Allen B. DuMont Laboratories’ des¬ ignation for a tube used to generate television pic¬ ture signals. Pick-up — A program which is televised directly at a scene of action, such as an athletic event, a political convention, etc. Picture element — The smallest section of any given scene as reproduced by the cathode-ray tube at any given instant. Picture noise — Interference or undesired signals causing spots of light or other irregularities in the pattern of the received picture. Polarization — In television, the position of the trans¬ mitting antenna, i.e. horizontal or vertical. It is desirable that the receiving antenna correspond to the polarization of the transmitting antenna. Hori¬ zontal polarization is now standard for transmission in the United States. Vertical polarization is stand¬ ard in England. Projection television — A system of enlarging tele¬ vision pictures by a combination of lenses and mirrors that enable the picture to be projected on a screen. Radiator — That portion of an antenna from which the radio waves are actually emitted. Radio channel — A band of frequencies for radio communication in the radio frequency spectrum allo¬ cated to each station. By present television standards the channels are 6 megacycles wide. Radio frequency spectrum — All of the wave lengths or frequencies that may be used for the transmission by radio of energy or intelligence. Ready — A direction to a cameraman, instructing him to line up his camera for the next shot. Reflective optics — In television a system of mir¬ rors and lenses used in projection receivers. The Schmit system employed by RCA uses reflective optics. Reflector — Additional antenna elements used in an antenna system to prevent the pick-up of signals from one direction and to increase the pick-up from the opposite direction. Relay station — A radio station that re-broadcasts television or other radio programs in order to in¬ crease the service area. Sometimes known as a re¬ peater station. Return trace — Lines formed on the cathode-ray tube screen as the cathode- ray beam moves back to its starting position. These are blanked out. Scanning — The process of analyzing successively, ac¬ cording to a predetermined method, the light values of picture elements constituting the total picture area. The cathode-ray beam scans the mosaic in the iconoscope and the fluorescent screen in the kinescope. Scanning line — A single continuous narrow strip containing high lights, shadows, and half tones which is established by the process of scanning. Screen — That part of a monitor or receiving set on which the television picture appears. Selectivity — The degree to which a radio receiver is capable of reproducing wanted signals from one station while rejecting all unwanted signals from other stations on adjacent channels. Sensitivity — A measure of the ability of a radio or television receiver to reproduce weak signals with satisfactory volume or intensity. Shading — Technique of adjusting the light distribu¬ tion in the image produced by the television camera. One of the monitoring operations necessary when Iconoscope cameras are used. Side bands — Those groups of frequencies higher and lower than the carrier that contain the intelligence being transmitted and produced by modulation. Signal — Electrical impulses corresponding to sound or picture information being transmitted. Special effects — Graphic material introduced into a studio presentation, particularly animated titles, miniatures, mechanical gadgets, etc. Camera or light¬ ing tricks used to create certain illusions. Special events — Programs not regularly scheduled, particularly those “picked up” by mobile equipment units. Spectrum — A band or range of frequencies. Usually used to designate the entire range of radio fre¬ quencies available for transmission. Spot — The visible point of light formed by the cathode-ray beam as it strikes the fluorescent screen of the kinescope tube. Stratovision — A proposed system of establishing net¬ work television by means of airplanes circling above certain points and carrying both relay and local broadcasting equipment. Superimposure — A special effect in which the im¬ ages from two or more cameras occupy the screen simultaneously. Also called montage. Sweep — Uniform and repetitive action movement of an electron beam across the screen of a cathode- ray tube, either vertically, horizontally or both. Switching — See Cut. Synchronization — Maintaining of one operation in step with another. In television, the term often refers to keeping the scanning beam at the transmitter in step with the electron beam at the receiver. Also used with reference to the correct coordination of picture and sound ; important when using recordings with pantomime action or graphic material with an off-screen speaker. "T.D." — Abbreviation for technical director, the station staff member who assists the director in the control room. Telecast — A television broadcast. Preferably called “a television broadcast,” the usage employed by the Federal Communications Commission. Telecine projector — A device used to televise mo¬ tion picture film. Telegenic — Having an attractive appearance when viewed on a television receiving set. Television — Literally, seeing at a distance. The transmission and reception of changing visual im¬ ages by means of radio waves traveling through space or over wires. Teleset — DuMont trade-marked name for home tele¬ vision receivers. Teletron — DuMont designation for a television re¬ ceiving tube developed by the Allen B. DuMont Laboratories, Inc. 12 television channels which had been assigned to the prewar system. This would make nationwide coverage pos¬ sible and at the same time give the viewer an opportunity to select from a larger number of programs. Even prewar color television broad¬ casts showed clearly that the pleasing effect, the clarity, and the texture of the images impressed the viewers im¬ mensely. The pictures, in natural colors, appeared to have a great deal of depth, an effect also apparent in present day color movies. Now Developing Receivers ■ Probably most people will be chiefly interested in the actual television re¬ ceiving sets. I would like to make it clear that CBS is not a manufacturer of commercial radio equipment, but we are developing two types of color re¬ ceivers in our laboratories for the bene¬ fit of the consumer and the set manu¬ facturers. One set is a small floor model and produces a picture approximately Test pattern — A drawing containing a group of lines and circles and other forms, transmitted for transmitter and receiver test purposes. Transmitter — Generally the equipment used for generating and sending radio signals of any type. Turnstile antenna — One or more layers of crossed horizontal half-wave antennas appropriately excited and arranged on a mast. Used in high frequency systems including television where a symmetrical pat¬ tern of radiation is desired. Tilting — A vertical sweep of a television camera. Trucking — A camera technique in which the shot is taken as the camera moves parallel to its moving object. Two-shot — A close-up or medium shot holding two persons, usually head and shoulders only, as the subject. Ultra-high-frequency — As recently standardized, uhf is any frequency of 300 megacycles or higher. Waves in this portion of the spectrum are called microwaves. Very-high-frequency — As recently standardized, vhf refers to frequencies between 30 and 300 megacycles. Vestigial sideband transmission — A system of trans¬ mission in which one of the generated sidebands is attenuated at the transmitter and radiated only in part. Vertical sweep — The downward movement of the scanning beam from top to bottom as a picture is televised. Visual transmitter — The radio equipment employed for transmitting the video or picture signal, as dis¬ tinct from the sound transmitting equipment. The combination makes up a complete television trans¬ mitter. Vertical centering — Control employed on a tele¬ vision receiver to regulate the position of the picture vertically on the screen. Vertical hold control — Control employed in a tele¬ vision receiver to adjust the field rate of the scan¬ ning to that of the transmitter. Video — That portion of the television signal that contains the picture information. Used as a prefix to the names of television parts or circuits that handle picture signals. (Latin: “I see.”) Viewing mirror — A mirror set at an angle in the lid of one type of television receiver. It reflects the image formed on the screen-face of a vertically- mounted picture tube so that the image can be viewed by persons seated in front of the set. Yoke — A set of coils used around the neck of a cathode-ray tube to produce horizontal and vertical deflection of the electron beam. Used for electro¬ magnetic deflection. the same size as a full page in Time magazine. The larger and more expen¬ sive model wrill furnish an image which is about 20 inches wide, or about the size of a full newspaper page. It is estimated that color television receivers will be only slightly more ex¬ pensive than black and white receivers. Many have asked when this new sys¬ tem of television will be available for the public. Development work and con¬ struction have advanced sufficiently to permit field testing early in 1946. After successful completion of the tests man¬ ufacturers will be in a position to start production of the receiving sets for the home. Thus, this most advanced television system, transmitting images in full col¬ ors and utilizing the progress made during the war in the field of electron¬ ics, will guard against receivers becom¬ ing obsolete for a long time to come. This is a prerequisite for the establish¬ ment of a nationwide television service. COLOR TELEVISION f Continued from page 32) 114 AGENCIES SHOULD GUIDE SHOWS (Continued from page 311 erously by advertisers. It will not be used unless it produces results; unless it produces sales, per dollar invested, comparable to returns from other media. Television program costs will be high which means that top creative brains will be needed to make tele¬ vision pay off. Only advertising agencies are manned and geared to coordinate showmanship and salespower to achieve this goal. And this means that if the advertising agencies are hampered in making their logical contribution, and in providing the expansion drive, in just that measure will the growth of television be slowed down. Vehicles for Sales Messages Agencies developed the entertainment value of radio because they experi¬ mented until they learned how to create for their clients the best possible radio vehicles for successful sales messages. The same knowledge and incentive can and will spur the development of tele¬ vision. When television stations offer packaged shows that fully meet the re¬ quirements of a particular client, agen¬ cies will willingly buy them. Rut when such shows do not exist sponsors must count on agencies to create them. Of necessity, however, they will have to be produced over stations which maintain an “open door” policy. Should station executives control the production of a show? Station execu¬ tives invariably are inclined to be “show minded,” not sales-minded. Because many compromises are necessary in the production of any show, an arbiter must always be present who is thoroughly familiar with both points of view. In radio, the advertising agency occupies this difficult post. The agency is also the driving power, the supercharger responsible for the maintenance of high quality entertainment and salespowered commercials. The few television showmen who are attempting to throttle agency partici¬ pation and guidance are making a serious mistake. The advertiser must have some one to watch his interests. Who is a more likely choice than the advertising agency which already di¬ rects and coordinates the sponsor’s pro¬ motional activities in all other media? It is at this point that the in¬ dispensability of the advertising agency should become most plain to the net¬ work which chooses to run everything itself. Advertising men are sales spe¬ cialists. Often, through years of asso¬ ciation, they are completely familiar with a client’s objectives and problems, with his products’ sales peculiarities and particular needs. As the agency is already guiding the client’s promotional activity in various other media, it is in a position to coordinate selling through television with other sales and advertis¬ ing efforts. Only advertising agency men who have spent years in learning how to present and merchandise the client’s products, are fully sensitive to the effect on sales of spoken lines, songs, tones of voice, of characters, costumes and props. And, beyond all this, the agency’s most important func¬ tion is its balancing of the showman’s enthusiasm for his art against the client’s tendency toward overselling. Let us recapitulate. Advertising agen¬ cies are better able to guide television (Continued from page 38) The subject of large screen television projection in theatres offers a brand new field for the television lawyer and many new legal problems will be pre¬ sented, especially in unfair competition, copyright and civil rights. Radio and motion picture lawyers are intimately aware of these questions of law and policy, and it will be necessary for the television lawyer to know the historical and legal background of legislation and programming development than net¬ work executives for the same reason that has made them the dominating influence in the development of every other promotional medium. They are trained to contribute sales direction. Their energies will not be scattered in over-all effort but will be concentrated on the needs of individual clients. Thus, progress will be made program by program. Agencies are in the most advanta¬ geous position to sell television to ad¬ vertisers and to supply the creative energy and driving power to make their recommendation work out successfully. Their organizations are already in ex¬ istence and functioning. This fact saves the networks from a crushing staff overhead. It permits the networks to sell their time on a standardized basis. Time Is Important Television stations expect to operate at a loss for the first few years and no factor is more important in cutting down this period than the stimulation and sales guidance that advertising agencies are prepared to contribute. Without this aid, television is likely to resemble a street undergoing repairs rather than a magnificent super-high¬ way to bigger markets and a better way of life. litigation affecting these problems in the radio and motion picture industries. Labor questions will be legion in tele¬ vision broadcasting. Every possible type of work involved has been or will soon be unionized and a television lawyer should keep in mind that his client must live with these unions, peacefully and happily, or else he is out of business. Many books can be written and lec¬ tures given on the lawyer’s job in tele¬ vision. He can play an important role in developing this medium so that it will exert its tremendous influence in the social and economic life of not only this country but of the world. There will be international networks and hookups and interchange of pro¬ grams and ideas throughout the world. Public treaties and private agreements will necessarily be involved, requiring a knowledge of international law and conflict of laws. The television lawyer will be pros¬ pecting virgin legal territory in most instances and will be helping to make new law. This is a grave responsibility. He must be in the front ranks at all times, fighting for freedom of speech, religion and press, which include radio, motion pictures and television. He must not only be a good lawyer and versed in every field of the law, including many which the average lawyer never hears about or deals in, but he must also be a keen business man, a tactful and astute diplomat and a man who has some conception of the obligations of world citizenship. Drawing by Herb Williams, courtesy Ladies' Home Journal. "Remember the good old days when v only had to listen the commercials?" A LAWYER LOOKS AT TELEVISION 115 IS TODAY'S TELEVISION HERE TO STAY? (Continued from page 1SI Potemkin are trained on a town. The guns fire on a palace; there is a tre¬ mendous explosion, gates are blown off the place, people run in terror down a great stairway. The picture was made, of course, many years after the actual Potemkin incident. And this is the way it was made: A long shot of the ships was made in the harbour of Odessa, with well-recog¬ nizable features of the city. The shot of the guns being trained on the town was taken from old newsreel shots made years before. The steps down which the people ran were partly actual steps in Odessa and partly scenery in the Leningrad studios. The long shot of the palace was made from the harbour in Odessa. The guns firing came from another newsreel shot. The close shot of the gate before it was blown up was made on location in Moscow. The ex¬ plosion was done in a Leningrad studio. Thus we have a completely comprehen¬ sible, exciting, emphatic, orderly story — created, through the phenomenon of editing, from wholly unrelated parts. Limitations of Live Erocdcsscj An ordinary “live” broadcast in a “live” studio requires too many things that can be weldc 1 together cnly through editing. It is obviously impos¬ sible to include anything but the most elementary editing in a “live” set: i; follows as a corollary, that “live” broad¬ casting can never tell a story in the best possible manner. In a “live” te’evisicn broadcast, every person concerned with the chow — he actors, the director, the technical men, the gi ipr, camera men, juicers, prop men — everyone must know the scrip; from start to finish, and know it per¬ fectly. The director, following his sc Apt, must watch action in the studio as wo1! as his video pane’s; the actors must know where to be every seernd and what to do; prep men, cab’cmcn, cam¬ eramen, grips, jostle each other all over the p ■ ace — an 1 no word must bo spoken that is not to be broadcast. The whole procedure is a nightmare c.ma true. Obviously this type of procedure is full cf all sorts of holes. One single left- footed persm can cause catastrophe. In a broadcast that I saw not so long ago, the director get a little excited, and cried, “Give me camera No. 3.” Camera No. 5 — as ho should have seen frem his No. 3 video screen, was idly standing there, aimed at a c .v.p’.c rf grips wres¬ tling with a. large slab of scenery. The conti ibutimi cf Camera No. 3 did not appreciably improve the dramatic effect of the performance. Such mhha.os "re not rndv p""sible, but probah'o, in “live” television broad¬ casting. There is a mental fatigue fac¬ tor on the part of the director, for example. He really has to be Superman to operate this thing and do no more than come out even. In front of him are video panels showing the field of each of the cameras; there is another one showing what is on the motion picture projector. (They must have motion pic¬ tures and slides even in “live” broad¬ casting.) And then, to top everything, there is a master video screen which shows what is actually going out over the air. A director needs a minimum of eight pairs of eyes merely to see what is going on. And his attempts at editing are controlled by what he can see. He can only cut to what he sees, and if he can’t see what he wants, he can’t edit at all. And, we must make clear, editing is the principal — the most important — - ingredient of any motion picture! New Aspect Needed There are many excuses for this state of affairs. The most obvious is the fact that the people who are doing the tele¬ vision now are radio people with little or no experience with motion pictures. They are folk who look back on an ex¬ perience in radio, unsullied by any seri¬ ous contact with any of the other arts. One of the things most wrong about present-day “live” television is the radio thinking applied to it. While this me¬ dium partakes of radio, trying to operate it by radio methods is wrong: and radio people — that is, people who persist in approaching its production problems as they approach radio production prob¬ lems — are doomed to failure. Remember when sound came into silent pictures? The directors and pro¬ ducers who had worked over a long period of time and had themselves de- vcl ped the science of cinematics were suddenly elbowed aside by a race of know-it-all sound technicians. Even the sainted DeMillewas gently pushed aside along with the rest. “That can’t be done!” was the order of the day. The noise-catchers put the cameras in big “iceboxes” with a glass in front and sai 1, “You can’t move the camera!” At the time sound came in, the mov¬ ing camera technique was at the height of its development. The tremendous im¬ pact that the use of the moving camera had brought to cinematics was instantly stultified. The average scene length v/ont from 12% seconds to nearly 2% minutes. There was no camera move¬ ment. Actors sat or stood and looked at each other. And talked. And did very little moving. That was all that could be done. New Technique: New Freedom But at last the people who had made motion pictures decided that this was a very bad state of affairs indeed, and said to the sound men, “Why must we keep our cameras in those iceboxes?” “Because they make noises that are picked up by our microphones,” replied the sound people. “But can’t we take the cameras out and put something over them so they don’t make noise?” And to their astonishment, the sound technicians replied, “Sure, we never thought of that.” So today the cameras used in Hollywood look almost exactly like the cameras we used before sound came in. They have the freedom they used to have. They have new freedoms, even. And the improvement in sound recording has been enormous. They are back on the straight road that nobody saw back in 1927, ’28, and ’29, because they tried all the roads before they dis¬ covered which was the right one. Television Is Not Radio What we need to do in television is to apply the same kind of reasoning. Radio people who remain “radio” can never solve these new problems. It takes a new type of enlightened radio people — open- minded thoughtful people. We must avoid all these side roads — all this doing it the hard way, and look for the one straight road that cuts straight through all the detours — the road on which television permanently will go ahead. In the main, television thinking has been of the “gee-whiz” type; the fas¬ cinating jargon is easily learned. There has been little genuine, well-grounded research or experiment. And there has been practically no attempt to study the basic medium, motion pictures. But motion pictures per se, are not tele¬ vision fare. The television motion pic¬ ture is very highly specialized. You can’t jump into it merely by going to Hollywood and hiring a motion picture unit to make a picture for you to use on television. There is a whole great big wide world of experimentation that must be done. Let Us Look at Costs The principal objection to the use of motion pictures, according to the oppo¬ sition, is cost. People will tell you that Hollywood motion pictures cost $4000 a minute to make. They do — and more. But there is a simple answer to that — we do not need to make Hollywood movies. If we are going to do a dramatic show in radio, we don’t build a theater. We don’t buy backdrops, asbestos curtains, footlights. We adapt our problem to the medium. We short-cut. We edit. We utilize the conventions of the medium, take advantage of its limitations. We use effects — and we end up with as perfect a version of our show as our individual competence per¬ mits. The same short-cuts are available in motion pictures. And in addition, mo¬ tion pictures provide the priceless in¬ gredient — editing. Now, it is perfectly easy to say, “Why hasn’t that been done?” There is an equally simple answer. It is because a lot of inexperienced people have leaped into the saddle and galloped off in every direction. It is just possible that one of those directions may be the right one; so far, however, there has been nothing to prove that. There is an understandable urge to play with this new toy, to go on the air and be glamorous — and broad¬ cast all the mistakes that you are ca¬ pable of. That is precisely what is hap¬ pening. Every time these “live” people go on the air they set television back another ten years. That state of affairs 116 obtains pretty largely throughout the country. News and special events invite a great deal of argument in television circles. The people who believe entirely in “live” production say that the most important factor in news and special events is “immediacy,” that is, seeing it on your screen at the moment it hap¬ pens. And further to bolster their argu¬ ment, they have invented the word “in- stantaneity,” which is a philological handspring of the first order. The best definition of this dreadful word is “alibi.” We go to newsreels and see events that happened several days ago, and we enjoy them because we get a satis¬ factory coverage of it — a coverage that is edited to bring out the important feature of what happened ! "Instantaneity" on Film! There is no argument about this “immediacy” thing. It is, in general, a lot of nonsense. But if you want to admit “immediacy,” “actuality,” or “in¬ stantaneity,” again we make the state¬ ment that it can be done better with film. Eleven years ago, at the Olympics in Berlin, Fernseh — A.G., the television subsidiary of the Reichsrundfunksge- sellschaft, became involved in a problem of televising a part of the Olympics at a time when there wasn’t sufficient light. The Jerries, who are pretty fast on their feet technically, got together and said to each other, “We will now do this with film, but we will also heed the warnings of people who say that we must do it at the same time it is hap¬ pening.” And so they devised equipment that permitted them to make motion pictures of the Olympic games and to project those onto the television screen with a lag of approximately three minutes. That sounds incredible, but today high¬ speed processing of film is a matter of course. Everyone is familiar with the same-day newsreel presentation of foot¬ ball games, world series games, and so forth. These are done with a lag of from 3 to 6 hours. And nobody, inciden¬ tally, objects to that time lag — because the picture is good! Also, it is edited. Let's Go to a Fire You are sitting in your house and the fire trucks go roaring past. You say, “There is a fine fire somewhere. Let’s get it on our television.” So you go and turn on your television set and you find an announcer talking to you from the studio. Says he, “There is a terrific fire over at 630 Fifth Avenue, and in a couple of minutes we are going to bring you some shots of that fire. Our equip¬ ment is on the way over there.” And after a radio buildup — possibly also radio announcer talking from the scene of the fire, we finally hear “And now we bring you the picture from the ac¬ tual spot.” What we bring you is a carefully edited picture of that fire — but what you see actually happened three minutes ago. However, the fire is still going on. You know that because from your window you can see the smoke. You don’t know whether the man who jumped out of the window jumped out at the actual mo¬ ment you saw it on the screen or whether he took off minutes earlier. But that three minutes gives sufficient mar¬ gin for a pretty fair job of editing by an experienced film cutter at the scene. Thus you avoid the type of thing which some of you may have seen in special event and news television broadcasts in which everybody runs in all directions through the smoke clouds and the whole story is completely mixed up, uninte¬ grated, told in outrageous order with a wholly baffled announcer talking about something you can’t see. We want to make it clear again — and you must bear with me if I repeat myself frequently — that editing is the most important part of a picture. If you can’t edit your pic¬ ture you haven’t got a picture. Unsolved Problems Facing Us One problem is the ratio of sound volume to picture size. One of the rea¬ sons that present-day television is sometimes alarming is that you see midget images and hear full-sized voices. Much experimentation must be done to make this make sense. The problem of what photographers call “gamma” is important. Nobody has thought of that yet: most television producers haven’t even heard of it. (Gamma is the relation of the contrast in the original with the contrast in the picture.) There is a great deal of in¬ vestigation to be done in that direction. Besides there is a tremendous job in the adaptation of motion picture tech¬ niques. Hollywood motion pictures don’t do very well in television because they are not geared to television’s require¬ ments. There must be investigation into the psychology of short pictures — of various types of shots. The present-day people, for example, in “live” television utterly refuse to use long shots and thereby stultify their efforts, because a long shot is of the highest importance in establishing the inter-relation of characters, locations, etc. One of the things that needs investi¬ gation is the elimination of ugly shots. The only way that you can keep from giving an animated cartoon of the ton¬ sils in operation in a close-up of a singer is to pre-record. The singer sings a song into a mike without any camera and then stands up in front of the camera and smiles prettily, “mouthing” the song in synchronization with the playback of what she has just sung. Pre-recording, amazingly enough, was discovered in the motion picture indus¬ try only comparatively recently. At that time, everybody had counted Jeanette MacDonald’s teeth forty or fifty times every time she sang a song. And some¬ body said, “Why does she have to make faces?” They decided to do it a very simple way: a way, however, that took much costly experimentation before it was perfected — just as our acquisition of technique and experience will be time-consuming and costly. Looker-Listener Habits Another thing that must be investi¬ gated is the average length of television shots. They will probably vary from the accepted 12(4 second average of theater motion pictures. There must be a great deal of in¬ vestigation into the mass psychology factor. Motion pictures — theater motion pictures — are looked at by a large num¬ ber of people at the same time. Tele¬ vision pictures, on the other hand, will be looked at by only a few people. It is obvious that the factor of mass psy¬ chology must be carefully considered, and experimented with. Much research remains to be done on color reproduction. Current methods used for color television are already obsolescent. Investigation is indicated in the use of camera movement as against cuts. With “live” television, the camera has to move in for close-up, and the audi¬ ence is constantly disturbed by a “busy” screen, full of people who dash off into the upper right hand corner, run away from you, or rush at you, increasing alarmingly in size. Camera movement is all right in its place, but it occupies too much of a place in “live” television. To get this motion picture quality in television an enormous amount of ex¬ perimentation is necessary. We can’t just make movies in the con¬ ventional way. We must adapt accepted techniques and create new ones in step with the conventions of an art that is now half a century old. Our eventual technique will come partially from research into writing problems. Writing for motion pictures is not as easy as it looks. Writing for a highly specialized type of motion pic¬ ture is going to be harder. Scripts will have to be written so that they can be broken down to be shot virtually in sequence. This is contrary to general practice. Who Will Develop Television Programs? Television programs, if they are to meet exacting standards, are almost certain to be more expensive than radio programs. Yet unless television pro¬ grams do meet the public’s critical standards, I do not believe that tele¬ vision will develop into a mass advertis¬ ing medium. The initial expense of developing pro¬ gram techniques and of providing pro¬ grams which will develop the medium 117 seems properly to be the responsibility of the networks and of others who will most directly profit from the growth of television. Motion Picture Suppliers The close parallel between the prob¬ lems of television and the problems of the motion picture industry suggests that motion picture producers may be¬ come an important factor in supplying television programs. What better way to counteract competition than by be¬ coming its supplier? Also as in radio there will probably be independent program producers who may become important factors in the production of packaged television pro¬ grams. Constant knowledge of the develop¬ ments in television engineering and pro¬ gramming, together with a continued measurement of growth in television set ownership and broadcasting station in¬ stallations, will make it possible to project the medium’s development with reasonable accuracy and prognosticate that period when television’s develop¬ ment will be such that we should be ready with programs. This probably will not happen so rapidly that we will be unable to recognize it ahead of time. Summary 1 — Television can be a great advertis¬ ing medium. 2 — Its development hinges mainly on programming. 3 — Good programs must be telecast from film. 4 — Developing program techniques should not be the responsibility of the agency or the advertiser (but may have to be). 5 — Today’s job is to (a) keep informed, and (b) keep your powder dry until enough definite information is at hand to indicate what course you should take. CAREERS IN TELEVISI O N (Continued from page 1101 counts indicated television as their No. 1 choice in postwar products, even though the price mentioned was $400. Automobiles polled 13 per cent and washers 12 per cent. Today American industry spends only about $10,000,000 annually on sales or market research. Marketing experts be¬ lieve the “Age of Electronics” in which we are now living may see this expendi¬ ture eventually approximate the esti¬ mated $500,000,000 spent annually on product research by industry. Looking Ahead Ten Years The development of automatic re- broadcasting transmitters will, we be¬ lieve, make it possible within ten years to bring television to most of the areas outside of the 157 markets previously mentioned, to serve a total of 23,700,000 wired homes, or 80 per cent of the wired homes in the United States. This repre¬ sents a population of about 100,000,000 people, or 82 per cent of the nation’s buying power. Even the best showrooms and dis¬ plays have to contend with people in a hurry, crowded sidewalks and shopping areas, inclement weather, and even police regulations. The better the dis¬ play, the greater the crowd, and the more pressing the command to keep moving. With television, products will be tastefully shown in the “little thea¬ ter” of the home — the living room — during the leisure hours not only of the family’s purchasing agent, Mother, but of Father and the children as well. Television has no problems of traffic crowds, bad weather or police edicts. There will be many new opportunities for alert merchandisers in the selling of home television receivers. These will be far superior to prewar models in picture size, detail, brightness, and con¬ trast. They will have greater stability in circuits, will be easy to operate so that even children can tune in both video and sound. They will have minia¬ ture tubes and other components which make possible more compact designing and styling. A vastly improved product will be offered at prices substantially below prewar levels. For example, a unit with direct-viewing kinescope may sell for under $200. RCA’s new, large screen receiver, incorporating both radio and television, will be priced at about $395. On the engineering side, technicians are needed in all phases from research to field installations. Electronic “know how” gained through Army and Navy training will find practical application not only in television but in such fields as electronic power generation and electron optics. Educators everywhere, conscious of the intense interest in television and electronics are planning courses similar to those already being held at Yale, Temple, New York University, City College of New York, Massachusetts Institute of Technology, and other edu¬ cational institutions. Many men are receiving technical training at the RCA Institute in New York. We all know what an effective ad¬ vertising and sales medium radio has proved to be. Just as recordings are the “transcription” of radio, so film will in many cases serve as the “transcription” of television. At every turn new jobs are created. Your Stake in Television? Every businessman, every profession¬ al man, every worker would do well to explore every possible angle through which his future may be related to this new medium. There is much to be done, ranging from the design of telegenic packaging for television to the telesales demonstrations of 1001 products in the homes of this great market. There is a whole new industry and a whole new technique of its tele-selling to be devel¬ oped. It follows that those individuals who are equipped to serve best will reap the greatest benefits as television comes into its own. TELEVISION AUDIENCE RESEARCH 4si television. They speak of it as “window shopping at home,” and think of it as a time-saving device that may some day alter their buying habits. They also recognize that, as an advertising medium, television will do more than combine the advantages of space and radio advertising. It will add a further element of motion — or demonstration — to its appeal. Recognizing these facts, viewers quickly reject television commercials that fail to take advantage of the spe¬ cial opportunities offered by the new medium. Commercials that show a mo¬ tionless product, for example, while an off-camera announcer reads from a script, are not wanted. One of the functions of TARI, now and in the future, is to improve the efficiency of video advertising; to test commercials before they are broadcast, as well as to check on their effectiveness after broad¬ cast. Another future job will be to study the comparative values of color advertising and black-and-white adver¬ tising. Because more concentration is needed to follow television than radio, and be¬ cause the new medium will have to com¬ pete with household duties as well as other forms of entertainment, some por¬ tion of the program schedule should probably be allotted to material that will require little if any eye attention. This will be particularly true of daytime programs. A very noticeable “guilt feel¬ ing” has been evinced by our respon¬ dents when they consider the time- consuming factor of television. Some “excuse” for looking, such as household or shopping help, may lessen this ob¬ jection appreciably. The new television audience will al¬ most surely compare what it sees with radio and movies. This is because it is natural to compare something new with something known; not because there is any desire to have television imitate either of the older media. In fact, the opposite is true. Programs that lean heavily on radio or Hollywood tech¬ niques have been least popular through¬ out the course of our studies. People want something new in television; something they can get from no other source. How well television satisfies this desire will, in a large sense, determine the speed and extent of its public acceptance. 118 TELEVISION PROGRESS 1800 — Alessandro Volta, led by the ex¬ periments of Galvani, invented the vol¬ taic pile, forerunner of all electric batteries. 1816 — Baron Jons Berzelius discovered the element selenium. The conductivity of this metal is affected by exposure to light. 1 81 9 — Hans Oersted discovered the prin¬ ciple of electro-magnetic induction. 1820 — Andre Ampere measured the re¬ lationship between electricity and mag¬ netism. He developed the ampere, a practical unit of current strength. 1827 — George Ohm gave his name to Ohm’s law — a standard measurement of resistance to electrical current flow. 1831 — Michael Faraday announced the laws of electro-magnetic induction and developed the first generator. 1839 — First successful methods of pho¬ tography were invented by Fox Talbot in England and Nicephore de Niepce and Louis Daguerre in France. 1840 — John Draper at New York Uni¬ versity pioneered in making portraits by photography. 1847 — Bakewell invented the “copying telegraph,” employing an elementary scanning device. 1 862 — Abbe Caselli transmitted the first electric picture, Amiens to Paris. 1873 — James Maxwell declared light to be a form of electro-magetic wave. . . . The electric motor was developed in Vienna. . . . Light-sensitive properties of selenium were discovered by a tele¬ graph operator named May. This dis¬ covery indicated that light values can be converted into equivalent electrical values. 1875 — G. R. Carey designed the first television system, imitating the human eye. 1878 — Sir William Crookes observed electric discharges in a vacuum, thus discovering the cathode-rays now known as electron beams. 1880 — Leblanc developed the principle of scanning — a method of viewing suc¬ cessively individual picture elements. A scanning device divides a picture into lines and each line into tiny sections. 1884 — Paul Nipkow invented a mechan¬ ical television scanning disc. 1886 — Heinrich Hertz, by experiment, confirmed Maxwell’s theories concerning electricity. He found the speeds of light and electricity identical, and proved that radio waves are electro-magnetic. 1888 — Photo-electric cells were built and demonstrated. 1889 — Thomas Edison filmed the first movie. 1890 — C. Francis Jenkins of Washing¬ ton began a search for new appliances needed for the success of the Nipkow scanning disk. 1895 — Guglielmo Marconi sent and re¬ ceived his first wireless signals across his father’s estate in Italy. 1897 — Sir Joseph Thompson demon¬ strated the true character of the elec¬ tron as the smallest particle of the electrical structure of the atom. 1898 — Karl F. Braun discovered that electrons can be controlled by magne¬ tism and their path traced on a fluo¬ rescent screen. 1905 — Albert Einstein announced the theory of photo-electric effects, thus de¬ fining the way in which a television camera would turn a picture into elec¬ tricity. 1907 — Boris Rosing patented a tele¬ vision system, using a receiver resem¬ bling the modern receiving set, based on the Braun cathode-ray tube. 1908 — A. A. Campbell-Swinton devel¬ oped the theory of a cathode-ray tube camera. 1909 — Hans Knudson sent the first drawing by radio. 1920 — Commercial radio stations were licensed. . . . Radio station KDKA in¬ augurated a regular broadcast schedule. 1922 — WEAF broadcast the first com¬ mercial program. . . . John B. Johnson produced the first low-voltage, gas focused, sealed off cathode-ray tube. 1923 — Vladimir Zworykin filed patent application on the first form of elec¬ tronic television camera tube, the Icono¬ scope, now in general use. 1924 — Captain Richard Ranger sent the first facsimile picture from London to New York. 1926 — C. F. Jenkins, in Washington, D.C., demonstrated apparatus which showed shadowgraphs of far-off moving objects . . . J. L. Bail’d, in England, demonstrated television transmission of half-tone pictures . . . Baird also devel¬ oped infrared ray television ... Na¬ tional Broadcasting Co. organized the first radio network . . . Warner Bros, gave the first “vitaphone” demonstra¬ tion . . . Dr. E. F. W. Alexanderson, in St. Louis, demonstrated an advance in television by showing his multiple light¬ brush system and new projector. 1927 — J. L. Baird demonstrated his me¬ chanical scanning disc television system at Glasgow . . . Wire-television was demonstrated between Washington and New York . . . Radio-television was demonstrated between Whippany, N. J., and New York by Bell Telephone Lab¬ oratories . . . Congress established the Federal Radio Commission. 1 928 — Baird sent the first trans-Atlantic television picture and demonstrated the first crude systems of color and stereo¬ scopic television . . . Bell Telephone Laboratories televised outdoor scenes without the use of artificial illumination . . . At Albany, General Electric tele¬ vised the first “remote” pick-up: Gov¬ ernor Smith’s inauguration . . . Farns¬ worth developed the “image dissector” tube. 1929 — Vladimir Zworykin announced the invention of a non-mechanical receiver using a special cathode-ray tube called the Kinescope . . . Television in color was demonstrated by Bell Telephone Laboratories over wires from one end of a room to the other; a picture about the size of a postage stamp was trans¬ mitted. 1930 — NBC television station W2XBS atop the Amsterdam Theatre, New York, opened for tests ... At RKO Proctor’s 58th St. Theatre, RCA dem¬ onstrated television on a 6-foot screen . . . Two-way wire television, on which speakers at the end of a 3-mile line saw each other as they conversed, was dem¬ onstrated by Bell Telephone Labora¬ tories. 1931 — Fifteen companies had telecast schedules in U.S. . . . Bell Telephone laboratories, to clarify television, intro¬ duced caesium photo-electric cells that “see red” . . . English Derby at Epsom Downs was televised for the first time by Baird’s system . . . Television on a 10-foot screen was shown at the Broad¬ way Theatre, New York, with 1700 at¬ tending the opening performance; a wire link was used between Theatre Guild Playhouse and the televiser . . . Dr. Alexanderson sent television across his laboratory in Schenectady on a beam of light instead of a wire or radio wave. 1932 — C. Francis Jenkins described a new television principle resulting in images estimated to be 3600 times brighter than those heretofore devel¬ oped. The image appeared on a sensi¬ tized emulsion of an “animated lanterr slide” . . . Field tests of 240-line all- electronic television were made by RCA at Camden, N. J., with signals relayed by radio from New York through Mt. Arney, N. J., for the first time. 1935 — Edwin Armstrong announced the principle of FM . . . British Postmaster General’s Committee recommended that BBC be responsible for television in England. 1936 — BBC formally opened Alexandra Palace television station, transmitting a 405-line picture. Telecasts occurred daily except Sundays . . . AT&T tested co¬ axial cable and proved it successful . . . Don Lee and Philco gave public demon¬ strations of cathode-ray tube television systems. 1937 — Television, with a 441-line pic¬ ture, was demonstrated by Philco in a 3-mile test across Philadelphia . . . Cor¬ onation procession of King George VI was telecast over 7500 square miles to an audience estimated at 50,000 . . . Vladimir Zworykin demonstrated elec¬ tron projection “gun” at IRE Conven¬ tion . . . R. R. Law projected television pictures on an 8 x 10 foot screen . . . Bell Telephone Laboratories transmit¬ ted movies over coaxial cable between 119 New York and Philadelphia. Pictures were of 240-line texture . . . Mobile television van of NBC appeared on the streets of New York. 1938 — BBC began televising demonstra¬ tions of anti-aircraft defense, fire pre¬ vention, etc. . . . Television images from London, on ultra short waves, were picked up on Long Island, badly dis¬ torted. 1939 — Plays were telecast in London directly from the theatre stages with marked success . . . NBC televised the opening of N.Y. World’s Fair . . . The first baseball and football games and the first prizefight were telecast . . . RCA introduced an improved radio camera, the Orthicon, for greater clar¬ ity and depth in outdoor pictures . . . A telecast from New York was picked up in a plane 20,000 feet above Wash¬ ington, D.C. Outbreak of war stopped all European television. 1940 — In the fix’st “television network” broadcast, FCC members at Schenectady saw pictures telecast from NBC, New York, received directly and then re¬ broadcast through an automatic relay across the upstate capital district . . . RCA Manufacturing Co. at Camden, N. J., demonstrated color television to the FCC . . . Philco, at Philadelphia, demonstrated television pictures of 605 lines on horizontally polarized waves, 24 frames per picture and reception on loop antenna inside the set . . . FCC au¬ thorized “limited commercial” operation, later suspended it . . . An airplane carrying a portable television trans¬ mitter telecast New York panorama . . . NBC telecast Philadelphia Republican convention to New York via coaxial cable, linking cameras with a transmit¬ ter atop the Empire State building. This telecast was picked up in Tulsa, Okla¬ homa, about 1800 miles away, establish¬ ing a new overland record for ultra- short waves . . . NBC also telecast Chicago Democratic convention from films rushed to New York by plane . . . CBS demonstrated color television . . . DuMont studios took mobile transmit¬ ters on Army field manoeuvers . . . Lee de Forest was at work on a pilotless “television torpedo plane.” 1941— — RCA demonstrated to FCC: home television receiver with 13 Vz x 18 inch translucent screen; television on thea¬ tre screen of 15 x 20 feet; scenes re¬ layed by radio from Camp Upton; fac¬ simile multiplexed with frequency mod¬ ulation sound broadcast . . . NBC put color television pictures on the air for the first time . . . FCC authorized com¬ mercial television . . . RCA large-screen television demonstration for Motion Picture distributors and press at New Yorker Theatre featured world’s mid¬ dleweight championship bout at Madi¬ son Square Garden . . . First advertising rate card for television was issued by NBC; commercial operation of tele¬ vision began on a minimum schedule of 15 hours a week . . . American Tele¬ vision Society was organized . . . FCC raised the standard television picture from 441 to 525 lines . . . CBS presented the first television newscast; CBS tele¬ vision also went on the air to cover Pearl Harbor news. 1942 — NBC telecast a course in air-raid instruction, placing receiving sets in police stations . . . CBS telecast a course in Red Cross instruction and sold war bonds by television . . . Conversion to war work stopped most television activi¬ ties in the U.S. 1943 — Western Defense Area telecast regular course in Civilian Defense train¬ ing over W6XYZ, Paramount station in Hollywood . . . Scophony was granted two basic patents for large-screen tele¬ vision . . . NBC installed television re¬ ceivers in Army hospitals and began weekly telecasts of prize-fights from Madison Square Garden . . . Alexander- son patented a three-color television process . . . Palmer Craig, at the Uni¬ versity of Florida, announced a new system of broadcasting television over standard radio channels . . . Radio Technical Planning Board was organ¬ ized. 1944 — Television Broadcasters Associa¬ tion, Inc., was formed by broadcasters and manufacturers, and held its first annual conference . . . First television network, linking NBC, New York, GE, Schenectady and Philco, Philadelphia, went into regular operation . . . Tele¬ vision stations in several cities gave special election night programs. Radio Executives Club sponsored a television seminar covering all phases of the in¬ dustry . . . Telecine film was first used. 1945 — Canada set up a Radio Technical Planning Board . . . RCA demonstrated a 22-inch projection screen for use in home receivers. DuMont demonstrated a 20-inch direct-view screen, also for home television reception . . . FCC announced FM and frequency alloca¬ tions for peacetime expansion (alterna¬ tive plan No. 3) . . . Washington was linked to Philadelphia over a new mul¬ tiple-relay television network developed by Philco . . . Viewtone developed a midget television set, to retail for $100 . . . DuMont started first television in¬ stallation in a depai’tment store by converting John Wanamaker audito¬ rium, New York, to a new television broadcasting station . . . BBC resumed telecasts several months after V-E Day. All New York stations gave special V-E Day presentations; NBC stayed on the air 14 consecutive hours . . . NBC covered V-E Day, V-J Day, Navy Day and many other important occa¬ sions with pick-up programs and spe¬ cial film . . . DuMont instituted “Thanks fox Looking”, the fix-st participation program to involve the home audience . . . Bill Still completed station W2XJT, using equipment which he designed and built himself . . . “Stratovision” was proposed — it is a system of relaying television by equipment installed in air¬ planes . . . Balaban & Katz, in coopera¬ tion with the Chicago Board of Educa¬ tion, started a series of educational telecasts to schools . . . RCA image orthicon provided a new black-and-white television camera 100 times more sensi¬ tive than the best in use in 1940. RC 1 also demonstrated transmission of color. France 1932 — Television Baii’d-Nathan Co. started experimental telecasts. 1935 — A television station, with transmitter on the Eiffel Tower, was opened. 1937 — Fi'ench Postal authoi'ities demonsti-ated television at Paris Exposition. 1938 — A cable for television trans¬ mission was laid from Paris to Bordeaux. Germany 1929 — The Fernseh Co. was foi'med. Fernseh used mechanical scanning methods. 1936 — High-definition program ser- vice began in Bexdin. 1937 — A television cable was laid from Berlin to Nuremberg for television - telephone service and propaganda purposes. 1 938 — Television-telephone sex-vice was opened to the public. 1939 — Nazis took equipment to Ar¬ gentina and demonsti-ated tele¬ vision. Holland 1935 — Philips Co. built the first iconoscope in Eui-ope and began experimental transmission 1938— Philips Co. constructed a pox-table transmitter and demon¬ strated television through Holland and other counti'ies. Japan 1925 — Television experiments be¬ gan, using a mechanical scanning system. 1936 — Government appropriated large amounts for television re¬ search. 1937 — Nissan Television Kaisan was fox-med to opei-ate patents of Bx-itish E.M.I. 1939 — Japan Broadcasting Corp. put the first experimental television program on the air. Russia 1934 — Television experiments be¬ gan, using a mechanical scanning system. 1937 — Rusia bought RCA television equipment for a Moscow television centre. 1939 — Experimental telecasts con¬ tinued until the outbreak of war. Sweden 1930 — Baird Co. demonstrated tele- visioix in a Stockholm movie theatre. 1935 — Svenska Radio A.B. ei'ected a television transmitter in Stock¬ holm. There were daily telecasts during the Chxistmas shopping season. In all the above countries, and in England (see main chronology), all television operations ceased with the outbreak of war in 1939. 120 Many of the facts reported above are reprinted by permission, from “The History of Tele¬ vision” by Orrin E. Dunlap, Jr. and from “4000 Years of Television” by Richard W. Hubbell. Cover by LARRY TISDALE The cover of our 1946 American Television Directory was painted by Larry Tisdale who has won honors in many poster competi¬ tions. He exhibited at the Prix de Rome in New York, 1939, and at the Pennsylvania Academy, Phila¬ delphia, in 1938. His talents won him a Tiffany Foundation Scholar¬ ship in 1937 for study in Long Island; also the Eliot O’Hara Water Color Scholarship in 1938 for study in Maine. Mr. Tisdale graduated from Yale University in 1939, having served as an editor of the Yale Record and art editor of College Yearn Magazine. He was with Lennen & Mitchell, Inc., when he entered the armed services. He aided in the preparation of numer¬ ous educational manuals and the “GI Roundtable Series” (which in¬ cluded a booklet on television), while attached to the Army Medi¬ cal Center, Washington, D. C., the Adjutant General School, Fort Washington, Md., and as a staff sergeant in the Information and Education Division, New York. OPPORTUNITIES IN TELEVISION The staff of a television station will include script writers, costume design¬ ers, stage set designers and builders, lighting experts, camera men, sound effects men, microphone boom operators, camera dolly operators, stage and tech¬ nical directors, picture and sound con¬ trol operators, maintenance technicians, and transmitter operators. Many of these professions are new and require basic fundamental knowledge and train¬ ing in the actual operation of a tele¬ vision studio. A television studio includes all equip¬ ment which is now a regular part of a broadcasting studio to provide the sound which accompanies the picture. In addition, the television studio in¬ cludes much more apparatus to take the pictures and to allow them to be broadcast. The maintenance of this apparatus affords a great opportunity for the technically-trained man with a knowledge of the basic principles of electrical enginering, electronics and radar. As more television stations are built, the demand for trained personnel in each of these branches will increase. — James D. McLean, General Electric Company. Meets New RJI/IA Standards CABLE A new coaxial cable, especially designed for FM and TV use, is now a reality at the Andrew Co. Scheduled for February delivery to the first orders received, these new cables, in 4 sizes, introduce the following important engineering features: 1. Characteristic impedance of 51.5 ohms. (The regular Andrew cables for AM applications have a nominal impedance of 70 ohms.) 2. Engineered to meet fully the rigid new RMA standards. (Andrew is particularly familiar with these standards through participation in meetings of the RMA standard¬ izing committees.) 3. Insulators are spaced 12 inches apart in the 3 large size cables, and 6 inches in the %-inch cable. 4. Improved low loss insulation material is used, having a dielectric con¬ stant of 6.0 and a maximum loss factor of .004 at 1 00 me. 5. Close tolerances have been established on conductor and insulator 3 V8 COAXIAL For FM and TV dim ensions, in order to maintain a constant characteristic impedance. 6. Inner and outer conductors are made of copper having a minimum conductivity of 95% IACS at 25° centigrade. Your order now is the best assurance of early delivery on this new coaxial cable for your FM or TV installation. Write or wire the Andrew Co., 363 East 75th Street, Chicago 19, Illinois, for complete infor¬ mation or engineering advice on your particular application. ATTENUATION CURVE Attenuation is calculated in acordance with RMA- approved procedure, in¬ cluding a 10% derating factor to allow for re¬ sistance of fittings and for deterioration with time. • The new RMA ap¬ proved Andrew coaxial cable for FM and TV comes in 4 sizes, priced tentatively as follows: 7/s , 42c per ft.; 1 % ", 90c per ft.; 3'/s". $2.15 per ft.; 6'/s , $5.20 per ft. Andrew Co. also manufactures a complete line of accessories for coaxial cables. 6% COAXIAL CABLE ANDREW CO. 363 EAST 75th STREET CHICAGO 19, ILLINOIS 121 IS TELEVISION TOMORROW'S RADIO? TELEVISION PROBLEMS Courtesy of Tide and Columbia Broadcasting System. (Continued from page 13) proach which merges sight and sound and which will require that the audi¬ ence both see and hear, in order to get the full drift of the show; the second technique is one in which the visual portion is merely an adjunct to the sound — which will make it possible tor a person to enjoy a television program without having to “view” it beyond an occasional glance — much as you might listen to a symphony with closed eyes and only from time to time look up at the orchestra. Unless this second technique is de¬ veloped, television is going to face a difficult situation, because the housewife cannot be expected to drop her pots and pans and stay glued to her set. If she can’t work and listen, she will just have to not listen. Cost of Network Television Question: “Do you foresee rate bat¬ tles?” Answer: Wherever there are rates, there are battles. I don’t know how, in a free competitive system, you can avoid it. The Westinghouse suggestion of a network of stratospheric television transmitters is not only an example of the bold and imaginative engineering being lavished on the medium; it is also an example of the cost factor. This skyway transmission, you recall, envisions a series of transmitters, built into giant stratoliners which, while circling at a height of 30,000 feet over ground studios, pick up television sig¬ nals and broadcast them to the homes in a wide area around these ground studios. As I read the dispatches, I learn it will take a web of 14 plane-transmit¬ ters to achieve an 80 per cent coverage of the country; and it will cost $1000 an hour to operate each plane. So, we have television paying $14,000 an hour for station operations, and the pro¬ grams still have to be piped — by co¬ axial cable or radio relay — from the originating point to one of the 14 ground control studios and relayed by microwave from one to another. Add to this the cost of time and talent — and you begin to get an idea of the ex¬ tremely high cost of network television. I suspect that it will be a long time before rates in television become suf¬ ficiently competitive to cause battles. Inventions Upset Predictions Let me, in closing, revert to the sec¬ ond paragraph of these remarks in which I disclaimed having any special pipeline into the future. The thoughts I have set down are common sense, if somewhat hard-headed, projections of the facts such as we have them today. If within the next two or three years an invention is unveiled which, in rela¬ tion to television, even remotely ap¬ proaches the devastating effect of an atom bomb — then all bets are off! 122 PTM — A NEW TRANSMISSION SYSTEM (Continued from page 33 1 part is contained in an even smaller cabinet. Through the use of the “cyclo- phon,” the number of vacuum tubes required is very materially reduced. Coaxial cables and parabolic reflec¬ tors 8 feet in diameter serve to beam the 1300 me carrier. The performance of the system meets the strict require¬ ments of high quality modern telephony. These systems could also carry a number of telegraph channels in place of each of the telephone channels. The importance of such a system for long distance telephony is at once evident: no wires, little maintenance, little haz¬ ard of interruption by flood, hurricane or ice storm, and simplified operation even for direct dialing of long distance numbers across the continent. The possibilities of PTM are not lim¬ ited to telegraphy and telephony. In fact, high grade transmission of music has been successfully demonstrated and its application to broadcasting offers so¬ lutions to many pressing problems. With the ever increasing demand for broadcasting facilities and the already congested situation in the present broad¬ cast band, there is a trend toward utili¬ zation of high frequencies for radio broadcast purposes. Steps have been taken in the United States toward the establishment of an extensive system of broadcasting employing frequency mod¬ ulation. In view of the number of SO THEY SAY: “I had the novel experience of appearing in television before I did in motion pictures. I found tele¬ vision a great help when I made my first picture, ‘Goodbye Mr. Chips.’ The camera technique is much the same and teaches, most importantly, naturalness, restraint and poise. . . I discovered that, before either a television or movie camera, the worst fault a player can be guilty of is overacting. Fine acting before a motion picture or television camera isn’t really act¬ ing at all. It is the art of being natural.” — Greer Garson “I can now look forward to a long layoff in a new medium, tele¬ vision.” — Solly Violinsky “Fortunately for screen actors there is no deep dark mystery about acting in television. Any competent actor who has performed before the motion picture camera is ready to perform before the tele¬ vision camera. Those of us who have participated in a number of television productions know that acting in television is just about the same as acting in motion pic¬ tures. It is acting, nothing more and nothing less.” — Robert Shayne license applications filed with the FCC, it seems that the channels made avail¬ able in the new FM band 84-102 me, will in the near future prove insufficient to meet the total demand, and it is ex¬ pected that broadcasting will be shifted toward higher frequencies. In any case, wide-band FM, a com¬ paratively newer and superior type of modulation, has inherited the older con¬ cept of “simplex” broadcasting which does not permit full advantage of the possibilities of ultra-high frequency transmission for a number of stations. A Common Transmitter Most of the difficulties experienced in uhf transmission and, in particular, in densely populated areas, result from the “line of sight” requirements. To overcome these difficulties, the trans¬ mitting antenna must be located where it can be “seen” by the greatest number of receiving antennas. All transmitting stations serving a given area should be located at this optimum place. For space reasons only, this is not practical as a multitude of transmitters and antennas cannot be accommodated on top of the highest structure located centrally among the receivers. The use, for sev¬ eral programs, of a common transmit¬ ter and antenna is obviously attractive. In a “multiplex” broadcasting system, several programs would be transmitted from the optimum location on a common carrier frequency. The various studios originating the programs could be lo¬ cated at convenient places and convey their programs to the transmitting point by wire line or other means. Each of these programs would mod¬ ulate the common RF carrier system in a manner similar to the multiplex tele¬ phone and all the stations and listeners would benefit from the optimum loca¬ tion. The cost of installation should be greatly reduced as would also be the cost of operation and maintenance. Important advantages are also given to the broadcast listener; fixed tuned radio frequency receivers may be used since a common frequency is used for all stations; furthermore, the antenna problem is also simplified since the re¬ flection from nearby buildings is virtu¬ ally eliminated as all transmission originates from a single point — thus, a single efficient fixed directive antenna can be used for receiving all stations. Other advantages such as simplicity of relaying inherent to the multiplex broadcasting contribute to make this system a particularly attractive one. IT&T Laboratories have already dem¬ onstrated high quality transmission of music through PTM and are engaged in the construction of a UHF multi-chan¬ nel broadcasting system. In the television field, a common fre¬ quency for high definition or color tele- vison as well as high quality sound is made possible by PTM. Since television transmitters require a wide frequency band to carry the picture channel, they may also be used to trasmit the sound channel in the form of very short pulses without any additional complica¬ PTM antenna Installation at Nutley, N. J., in Federal's multiplex radio relay system. tion in the transmitting station itself. A series of pulses, generated according to the principles of the PTM system, is added to the normal synchronizing pulses in the control room. The equip¬ ment required to do this is simple and makes use of receiving tubes only, since it operates at very low power levels. The resulting signal is sent to the picture transmitter in the usual manner and radiated. At the receiver, the pulses for the sound channel are separated from the synchronizing pulses by a “width selector” circuit, for example, and fed to the sound demodulating and reproducing circuits. Actually, the com¬ plexity of the receiver is reduced since the pulse-separating circuits are simpler and use fewer components than the corresponding sound I-F amplifier and detector of the conventional system. The distortion, noise level, and fre¬ quency response are all satisfactory for high quality sound reproduction, because in the high frequency television spectrum the line scanning rate is suf¬ ficiently high to permit transmitting a very large number of these sound pulses per second. The pulses do not interfere with the picture signal because they are transmitted during the time the scan¬ ning beam is reduced to zero as it re¬ turns to the start of each line. Because of the complete elimination of the sound transmitter and the fact that the receiver construction is simpli¬ fied, it is anticipated that this will prove to be one of the most important applications of the PTM system. It is expected that actual field tests under normal operating conditions will be made in the early part of 1946. 123 USES OF FILM IN TELEVISION I Continued from page 441 And because animations are stylized, they lend themselves to fantasy and humor in the handling of difficult or controversial topics. Films also permit the use of stop- motion and three-dimensional anima¬ tion — for example, a pair of shoes that do a dance as if by magic, without strings. All of Hollywood’s miraculous tricks of the trade — rear-screen projection, miniatures, matte shots, slow motion and accelerated action, optical tricks and “wipes” — are either hard to do or impossible in live telecasts, but can be accomplished easily on film. Camera Angles and Movement Dramatic programs, in particular, benefit by the flexibility and scope which prefilming affords. It has often been said that a fundamental of tele¬ vision, as in the motion picture, is constant scene change and camera movement. Despite multiple cameras, and rapid changes of costume and scen¬ ery, it is a heartbreaking job to give a live telecast interesting camera angles and enough movement. And it will be expensive, too, for it entails large crews and the tying up of stages for live show rehearsals. Hence, film may be the cheaper and easier way of preparing many programs. Prefilmed television programs also have this advantage: they can be “dubbed” into foreign languages. That means potential world-wide telecover¬ age at reasonable program cost. The motion picture industry itself may develop glorified trailers (pre- vues), containing real entertainment, to exploit its Hollywood feature pic¬ tures via television. To what extent Hollywood’s stake in theaters and real estate will cause its product to be withheld from television distribution, only the future will tell. Some years hence it may not be sur¬ prising to find television broadcasting chains organizing their own newsreel companies. Local stations are going to be obliged to amass film libraries of stock shots dealing with local people and back- HOW WILL TELEVI In the category of “hot news,” there will be as much opportunity as ever between rival organizations to battle for a scoop. Getting to the scene will be highly competitive and costly. Ingenuity and keenness on the part of news staffs — the personal factor — will reap results. Besides special trucks for carrying equipment, special planes will also have to be kept available to rush equipment and crews. In certain cases, air views of a scene would also be transmitted. In fact, an entire news telecast might be made from the air, for example, a dis¬ aster at sea such as the burning of the grounds. Much of this material may be silent footage intended for telecasting in conjunction with a live announcer’s voice. Many authorities feel that the im¬ proved fine grain emulsions and pro¬ fessional 16 mm. camera equipment, which have been a result of the war, will ultimately make 16 mm. film more practical and economical than 35 mm. film for television programming. Certainly, 16 mm. film, which does not entail large or expensive studio invest¬ ments, is one way of materially in¬ creasing the volume of film available to television without too great an initial outlay. Numerous radio programs today cost an average of from $300 to $600 per minute. That is not out of line with current 16 mm. film production costs. By-product revenue from some films may be realized in re-edited ver¬ sions for the rapidly expanding school, adult education, and home movie pro¬ jector markets. A Public Relations Tool Television will provide an unsur¬ passed public relations tool for indus¬ try. However, for guided tours of plants, the showing of manufacturing processes, products undergoing tests, benefits to workers and consumers, the motion picture camera will always prove more capable and flexible than the mobile television unit. Yet enthusiasts favoring live tal¬ ent video shows criticize use of films as entailing loss of “spontaneity.” They ignore the fact that television itself, like the motion picture, lacks that per¬ sonal magnetism of the living theater where spectator and actor are face to face. Hollywood has been proving for 25 years that if a show is good, people don’t mind that it is canned in advance. A motion picture negative of a sport¬ ing event can be developed on location in a mobile film processing unit and placed on the air with as little as a minute’s delay. This would permit rapid editing and would vastly improve broad¬ cast quality. The spontaneity bugaboo was also disproved by the success of candid cam¬ era film interviews in a prewar Cali¬ fornia election campaign. Many “real life” scenes in documentary films such as “The City” show the motion picture camera capable of a high degree of “immediacy.” Documentaries Proved Popular Documentary motion pictures, some of feature length, are very popular with television audiences. One tele¬ station reported that “The Adventures of Chico,” “The Wave,” “The Edge of the World,” “The City,” and war films such as “Desert Victory,” brought en¬ thusiastic reactions from video audi¬ ences. The vast quantity of 16 mm. movies shot by amateurs all over the world is an untapped reservoir of tele¬ vision material. Certainly the method and techniques which have proved so successful in documentary film production deserve close study by all individuals engaged in television programming. They should investigate the possibility of combining documentary film sequences with spe¬ cially acted live studio scenes. Such a procedure will give to television from the outset a scope and mobility which mobile television cannot equal. In producing motion pictures for tele¬ vision use, a new technique will have to be evolved to suit the limitations and capabilities of the television system. Among factors which must be kept in mind are: (1) Lighting, (2) Colors, (3) Close-ups, (4) Length of shot. Preview on Small Screens Films intended for television program use should be previewed in the company of only a few spectators and inspected on a screen no larger than that of the average television receiver. The small sized television screen, in contrast to the mammoth movie screen, demands more close shots and close-ups to tell a story clearly and quickly. Film is not an inexpensive medium, and the budgets available for wartime programs have permitted little experi¬ mentation. As telecasting moves to a commercial basis, larger appropriations will permit film to prove its worth in program construction. SION HANDLE NEWS? icon t/nued from page 191 Morro Castle off the New Jersey coast. Little imagination is needed to fore¬ see a television news organization of the future finding use for jeeps, ducks, weasels and much war equipment that can help in peace to “get there fastest with the mostest.” For that’s how scoops are made. The television news of tomorrow will be provided by a nationwide field pickup reporting system, coordinated by a studio editorial news staff of specialists, integrated into an interesting format by a blend of all the techniques in¬ herited from its foster parents, radio and the newsreel. That system will be the pride of a well-informed nation. And that tomorrow is not now far dis¬ tant. The final promise of television is the further raising of its sights — the strengthening of its myopic weakness — until its vision reaches across the length and breadth of our world. When that time arrives, television will be the supreme unchallenged news reporting- medium. It will bring the world to the world in a fashion that promises ful¬ fillment of the hopes for international understanding, tolerance and peace. 124 Courtesy, The New York Times Magazine. "Elmer! Quick! Russek's is about to show its new line of silver foxes!" "War.amaker's? Will you flash fhaf fwelve-dollar handbag again? I didn't notice if it had a zipper." 125 WHY JACK BENNY DOESN'T LIKE TELEVISION Then I got to thinking about Fred Allen. What must be going on in his mind? In spite of what everybody thinks about Allen, we must admit he is intel¬ ligent. He realizes what television will mean to him. He knows what he looks like. I tuned in on his program — acci¬ dentally — last Sunday, and it was pitiful ... I never felt so embarrassed for anybody in my life. The only thing that saved Allen’s program was the audience. They were so sorry for him, they laughed continuously all through the show. You can’t fool the American Drawing by Breger. ©1946, King Features Syndicate, Inc. "Day and night! I just KNEW television would come to this!" public. The people know television is just around the corner, and it was just their way of saying ‘So long, Fred. You did a great job.’ “Last night I went to bed, but I couldn’t sleep. I kept tossing and turn¬ ing. Every time I closed my eyes I saw poor little Eddie Cantor, Burns & Allen, Bob Hope, Fred Allen, and all those other comedians less fortunate than I. It was a never-ending parade. Fibber McGee & Molly, Edgar Bergen, Red Skelton, Jack Carson. Yes, and even The Great Gildersleeve. All of them potential victims of television. “And as I lay there wide awake in bed, I knew what they were going- through — sleepless nights, tossing and turning, wondering what the future held in store for them. The uncertainty “Radio lives in a skyscraper. We haven’t found all the keys to all the rooms yet and there is still some difference of opinion among the prospective tenants over the desirability of the upstairs floors versus the lower floors, but no land¬ lord has a longer waiting list of applicants than the FCC.” — Paul A. Porter, Chairman, Federal Com¬ munications Commission. — the agony of waiting! The feeling of complete helplessness as, moving ever closer, television crept to engulf them and relegate them to the past. “It doesn’t seem fair. Why doesn’t science leave well enough alone? Radio is all right the way it is. Television can wait. Another 20 years won’t make any difference. I’m willing to make the sac¬ rifice. I’ll relinquish my high place if it will help others less bestowed. “Let’s not forget the human equa¬ tion. Let’s remember that the backbone of civilization is charity and kindness. So I say, hold off television. Science be damned! Long live radio!” — Jack Benny, in Variety. Drawing by Lichty. ©1946, Chicago Times, Inc. Courtesy Chicago Times Syndicate, Inc. "Until we make television practical, stop inventing things to make it obsolete!" 126 TELEVISION IN T (Continued from page 48) this kind of experimentation with the store’s goods. The interior use of television within the store will be extremely interesting. For the first time it will be possible to show samples of goods from one floor to another. Displays within the store will be very much influenced by this new resource. And some exterior win¬ dows may show actual goods and models from various parts of the store. Done without study and without experience it is likely to appear very confusing. For this reason I look for the major development in television for stores to come from display personnel rather than copy staffs. The advent of television will create a bridge between the merchant and the customer. This prospect seems particu¬ larly inviting to me. As the big stores became larger they became more im¬ personal and naturally lost touch with the individual customer. Television will help bridge this gap. It will create, if not an individual association, a closer feeling between the actual store and its customers. Television will neither supplant nor HE RETAIL FIELD substitute for advertising media cur¬ rently in use. All of radio’s success as an advertising medium has never suc¬ ceeded in making it a substitute for magazines or newspapers. Newspapers still represent the most economical form of direct advertising for department stores. And, television, I think, will not change a fundamental habit of wanting to sit and read quietly and leisurely. Keep your eye on facsimile reproduc¬ tion, however, for that will be an im¬ portant supplement. Newspaper use, of course, will eventually be coordinated with television to show merchandise in ads that is being displayed on the tele¬ screen. All of this, I believe, indicates that merchants will one day soon be obliged to reorient their thinking concerning communication with their customers. Those who approach television with the greatest curiosity, patience, research and intelligence will be foremost in its use. Others may be left behind. My advice to merchants is not to think of television as a matured art, sprung Minerva-like, full-armed from the head of Jove. Television will develop slowly, step by step. STRATOVISION (W. K. EBEL) ( Continued from page 28) pilots, turbo-supercharges and super¬ charged cabins. Each plane would have a wing spread of 161 feet and weigh about 20 tons fully loaded. They would be powered with two 1450-horsepower engines, cruise at less than 150 miles per hour, have a top speed of 266 miles per hour and be equipped with retractable landing gears. In addition to its nine transmitters and monitoring and relaying equipment, each plane would afford galley space and a lounge for the flight crew of three and six radio technicians. It would require only 25 minutes for a fully loaded plane to attain the six-mile broadcast altitude above its regular broadcast location. Planes would operate at the 30,000- foot level for slightly under 11 hours on one fueling. Reserve endurance at that altitude would be provided for ap¬ proximately two more hours so that maximum time aloft would be about 13 hours. Since operating schedules are planned on an 8-hour basis this means that each plane would have more than 50 per cent reserve endurance, thus in¬ suring continuous program service. This reserve flying time would also an¬ ticipate bad weather contingencies, would permit planes to take off and land at distant bases, flying to and from broadcast locations in complete safety above the storm. A Flying Pickup Unit In addition to its four high-altitude planes, each broadcast location would have a smaller plane equipped to act as a flying remote pickup unit. This plane would be available to cover any special event or emergency within the location’s 103,000 square mile area, re¬ laying television and FM programs to the parent plane for local broadcast or for nationwide network presentation. STRATOVISION (C. E. NOBLES) ( Continued from page 30) not include the cost of relay stations or coaxial cable required to deliver the program to ground stations. Additional advantages claimed for Stratovision are that the time required to build television into a nationwide service would be greatly reduced; that the sale of television receivers would be greatly expedited; that many people in small urban and rural districts will have television who would never re¬ ceive it otherwise because they live in districts which are too sparsely set¬ tled to support a station; that high- definition color television will be placed more quickly on an equal footing technically with present black-and- white low-definition television; and that many complicated antenna and “ghost¬ ing” problems are eliminated when a plane is in continuous motion and all programs come from one direction above the main part of the service area. BEST LAUCHS OF '45 Courtesy, New York Journal- American. Reproduced by special permission of The Satur¬ day Evening Post, © 1945 by the Curtis Pub¬ lishing Co, Courtesy, New York Sun. 127 THE BELL SYSTEM'S PLANS (co.«„..CBS 1945 This is the approximate quality of the new CBS postwar television -fine-definition -in full and natural color. On October 10, 1945 the first experimental broadcast of bril¬ liant, full-color television in the radar frequencies was success¬ fully achieved by CBS. As nearly as the printer's press and inks can accomplish, the picture above reproduces the quality of the new CBS High- Definition Television in a section of a picture measuring in full 7 W x 10". Note the tones. Note the depth of definition: fea¬ tures, patterns, jewels, play of lights. Thus the long search by CBS for pictures really great (not just passable) has passed perhaps the most important mile¬ stone in the new art. The event was certainly of first impor¬ tance to everyone concerned with television. Much remains to be done, much is being done, to put this new, brightest form of television in your hands. You may be sure that CBS is doing all it possibly can. THE COLUMBIA BROADCASTING SYSTEM