march, 1951 • seventh year fifty cents in this issue …

Teffi

OLDWOHITESHemain on Topooo

THE PRODUCT: Natiott"l Boh.mian Beer

THE AGENCY: Owen rtrJ CLrpp.ll, Ittc.

THE PRODUCER: Natiotr"l Sct"en Service

For the second consecufiye yeor TEI-EGUIDE'S onnuol popu-

lority poll roies Bohemion Beer Film Commerciqls FIRST

omong televiewers in Boltimore.

Proof Posifive of Notionol

Screen's obility to give your

TV FILM COMMERCIALS the

"Showmonship Touch" thot

produces oudience impoct,

product idenlification ond

MORE SALES !

The populority of NSS TV Film Commerciols with the tele-

vision oudience, is your further ossuronce thot the NSS

"Know-How", ocquired through 30 yeors of film production

experience, con be successfully opplied to YOUR product

. . . TODAY!

NATIONAL SCREEN SERVICE . 1600 BROADWAY . N EW YORK 19, N. Y.

MARCH, 1951 • SEVENTH YEAR 0 FIFTY CENTS

D s

IN THIS ISSUE

TV Rep in Action A Theatre for Television Estimating Operating Costs

%\ m

m

Q

Tee

WWf Of ftMWairr

NAri. If

«$•

r _

omrraiiES

Hemain on Top...

THE PRODUCT: National Bokemian Beer

THE AGENCY: Owen and Ckappell, Inc.

THE PRODUCER: National Screen Service

For the second consecutive year TELEGUIDE'S annual popu-

larity poll rates Bohemian Beer Film Commercials FIRST

among televiewers in Baltimore.

Proof Positive of National

Screen's ability to give your

TV FILM COMMERCIALS the

"Showmanship Touch" that

produces audience impact,

product identification and

MORE SALES!

The popularity of NSS TV Film Commercials with the tele-

vision audience, is your further assurance that the NSS

"Know-How", acquired through 30 years of film production

experience, can be successfully applied to YOUR product

. . . TODAY!

NATIONAL SCREEN SERVICE • 1600 BROADWAY - NEW YORK 19, N.Y.

p

www.americanradiohistory.com

Five new RCA-equipped stations in Mexico, Brazil, and Cuba, add television to the forces rvhich make Good Neighbors of all the Americas.

t/ou tdaBPn ?oB' bod //e/qh 6or "As little as 10 short years ago, television

-to the average man on the street-seemed far arvay. Today, television isin 10.500.000 homes.

Nervest demonstrntion of TV's growth isits leirn to Lirlin America. Three RCA-equipped stations rlrc now in Cubn, one in\{exico, anothel in BlLrzil-and morc aleplanncd. Thcv are contlibuting to televisionprogress bv follor'ving a single telccerstingstandrrrd. They also use developments fromRCA Laboratories: the image orthicon tel-

evision climera, electron tubes, monitoringequipment, and antenntis.

And as our neighbors to the south watchtelevision at home, they see another develop-ment of RCA research-the kinescope. It isthe face of this tube which acts as the "screen"in all-electronic home TV receivers . . . onwhich one sees sharp, clear pictures in motion'

See tlte kftest oonders of rarlio, teletision,anrl electronics at RCA Erlibition IIaIl, 36We* 49tlt St., N. y. Adnilssion is free. RadioCorporutiut of Anrcricu, RCA tsuilding, RarlioCiht, Neo f ork 20, Neu York.

Rcsults of RCA Research are seen

ir-r tl're rl:agnificent pictures pro-duced on the scret'ns of the nerv195f RCA Victor liome televisionreceivers.

RADTO CORPORAT]Ofl of ADTER|CAWor/d kader in Radrb - Firsr in Te/errsion

Five new RCA-equipped stations in Mexico, Brazil, and Cuba, add television to the forces which malce Good Neighbors of all the Americas.

/\/oiv iB/ms/Ofi cfoes "GoodAfe/qh6ot"

As little as 10 short years ago, television — to the average man on the street— seemed far away. Today, television is in 10 500 000 homes.

Newest demonstration of TV's growth is its leap to Latin America. Three RCA- equipped stations are now in Cuba, one in Mexico, another in Brazil—and more are planned. They are contributing to television progress by following a single telecasting standard. They also use developments from RCA Laboratories; the image orthicon tel-

evision camera, electron tubes, monitoring equipment, and antennas.

And as our neighbors to the south watch television at home, they see another development of RCA research—the kinescope. It is the face of this tube which acts as the "screen" in all-electronic home TV receivers ... on which one sees sharp, clear pictures in motion.

See the latest wonders of radio, television, and electronics at RCA Exhibition Hall, 36 West 49th St., N. Y. Admission is free. Radio Corporation of America, RCA Building, Radio City, New York 20, New York.

Results of RCA Research are seen in the magnificent pictures produced on the screens of the new 1951 RCA Victor home television

RJiDffO eORPOBJ* rMOM of

IVor/c/ Leac/er /n T^ocZ/o — T^'rsf- /n re/ew's/on


Mcnch, l95l Vol. 8, No. 3

TeleviserTHE IOIINNAL OF TETEVISION

c 0 t T E tT s

TV STATION REP 'N

ACTION

A THEATRE FOR TELEVISIONByWillianKo/enko....

EST I MAT I NG OPERAT ING COSISBy C. E. Nicfiolson

EST I MAT ED P RODUCT ION COSTS

TO SEE OR NOT TO SFF

By Joseph Dermer ,

EFFECTIVISIONSBy John DeMott

REHEARS'NG A TELEVIS'ON SHOW .

PROGRAA,IS AVAILABLE TO SPONSORS

FILM FACTSBy Jerry Albert

ROBERT E. HARRISManaging Editor

Joseph Dermer .. . ... ...Assistant Editor Inge Price .. ECitorial AssistantMaurice H. Zouary ..Art Editor Sylvia Sklar .Business Mana.cer

(ieorgc Webster . . .. . .Advertising Rcfresentativc

.John A. Bassett and Co..... Wcst Coast Adt,ertising Representat;,ue101 McKinley Bldg., 3757 \\rilshire Blvd., Los Angeles, California

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

t2

t5

I6

I9

20

2l

22

IRWIN A. SHANEEditor and Publisher

Entered as second class matter, oct. 13, 1944. elsewhere. payable in u. S. currency). Adver-Re-entered as 2nd class matter. at- the post tising rates upon request. published monthly,office at New York, N, Y., under the Act ofMarch 3, 1879. Subscription Rate, $5 per year except July and August, by Television Publica-(in the U, S, and territories, and Canada; 96.00 tions, 1280 Broadway, New york 19. N. y.

' Borboro ?ouleiteSTANWYCK gvDDARD

Robert .llffit*tYOUNG rr'*rr- ..ff[';n.DURANTE :i,""{:lt-' .$irgltcoEERr ' ,-

r.'.['ftt -'fit^T;#

f#,F;:-n:Itonti" io,llYcf _Jqck lo*ue.1. c"rror rrll.i jinky to,,,l;n

'*,j- Euster Grobbe

Iitl]&'

,.fr_fitlfW{'.,ii

Giiffiffiffi'l.#

MARCH, I95I

Entire Contents Copyrighted, 195I

March, 1951 Vol. 8. No. 3

T deviser

THE JOURNAL OF TELEVISION

CONTENTS

TV STATION REP IN ACTION 7

A THEATRE FOR TELEVISION Bv William Kozlenko 9

ESTIMATING OPERATING COSTS By C. E. Nicholson 72

ESTIMATED PRODUCTION COSTS 75

TO SEE OR NOT TO SEE By Joseph Dermer .... 76

EFFECT IVISIONS By John DeMott 79

REHEARSING A TELEVISION SHOW 20

PROGRAMS AVAILABLE TO SPONSORS 27

FILM FACTS By Jerry Albert 22

IRWIN A. SHANE ROBERT E. HARRIS Editor and Publisher Managing Editor

Joseph Dermer Assistant Editor Inge Price Editorial Assistant Maurice H. Zouary Art Editor Sylvia Sklar Business Manager

George Webster Advertising Representative

COMMONWEALTH Currently Serving the

Nation's Leading TV Stations Offers the Following

TV FILM PACKAGES

/nX" MAJOR

20 COMPANY

feature programs Pt With such Stors^s

Barbara STANWYCK

Robert YOUNG Jimmy

OURANTE Claudette COLBERT

Jack BENNY

Roulette GOOUARD

Jimmy STEWART

Merle OBERON Melvyn

DOUGLAS Raymond

MA SEY

S weStterns featuring

THE RANGE BUSTERS

KERM1T MAYNARD

^ SMITH BALLEW

05

Fronkie Oorr» a<k Ll

Corro/ Naht, * Buster Ci

$

- »

%

f3 MUSICAL

VARIETIES /i'/antin each 'featuring

MOREY AMSTERDAM j

13

SOUND civrtoons

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

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

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

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

Entire Contents Copyrighted, 1951

\cWpi£.

oSfe For further inform-

• of ion and complete list, write to E iNCOfiPORATED-

lommonujERLTH •'Ailm an*I Ah/e-m4i<m; Sfw. 723 Seventh Avenue, New York ID, N.Y.

MARCH, 1951 3


(,IN BE}|ATT OT T]|E I95I CAI{CER CRI|SIDE

t\ to- t1

/nfwrdr?Transcriptions: music, dt"rrr", Lrr-.r inter-

est, westertt; fift..tr rt J fir,. minutesl one

rninute rppurls and twenty secottJ station

bt""Ls. Scripts; long and sLort tailor-rnaJe

copy fo* twenty different prograrn cate$ories.

* GROUCHO MARX * GARY COOPER * HEDDA

HOPPER * ,IMMY DURANTE * GLORIA STTANSON * KATHERINE CORNELL

LILY PONS * ETHEL \TATERS * PHIL RIZZUTO * RALPH BUNCHE

SAMUEL GOLDITYN * LUCILLE BALL * IO STAFFORD * BILLY ECKSTINE

FRAN \TARREN * TEX BENEKE * IUDY GARLAND * VIC DAMONE

ROY ROGERS * rrd QUENTIN REYNOLDS

/n?eanUaat

16mm. Ll""L attJ *Lite trailers, 2x2 35nn.sliJus, 8x1O stills, 18x24 ."s.1 LootJs.

,FAYE EMERSON * LILI PALMER

REX HARRISON * ,,TONY. * ANIMATION

AMERICAN CANCER, SOCIETY, INC.47 BEAVER STREET o NEW YOR'K 4, NEW YORK

I

t

fi

$

.[?ll*'CURED

==

IN BEHALF OF THE 1951 CANCER CRUSADE

W ■#*. flfeNP JS' ■

m

Transcriptions; music, drama, kuman inter-

est, western; fifteen and five minutes; one

minute appeals and twenty second Station

kreaks. Scripts; long and skort tailor-made

copy for twenty different program categories.

r- ^

--

. »

v '

* GROUCHO MARX * GARY COOPER ★ HEDDA

HOPPER * JIMMY DURANTE ★ GLORIA SWAN SON * KATHERINE CORNELL

LILY PONS ★ ETHEL WATERS * PHIL RI22UTO ★ RALPH BUNCHE

SAMUEL GOLDWYN * LUCILLE BALL * JO STAFFORD ★ BILLY ECKSTINE

FRAN WARREN ★ TEX BENEKE * JUDY GARLAND ★ VIC DAMONE

ROY ROGERS * and QUENTIN REYNOLDS

'pwi (famTS- *****%

16mm. klack and wkite trailers, 2x2 35mm.

slides, 8x10 stills, 18x24 easel koards.

• f

'W*-. g

FAYE EMERSON * LILI PALMER

REX HARRISON ★ "TONY" * ANIMATION

AMERICAN CANCER SOCIETY, INC.

47 BEAVER STREET • NEW YORK 4# NEW YORK

0 ' *

*&£:■ • •»*

K


Stqtion Rep

rnHE business that Station RepsI obtain. accounts for over onethird of the total revenue of the 10?stations on the air today. With SpotTV's impact and flexibility, plus thelack of available network time andcable faeilities, this proportion ison the increase.

Yet the functions of the stationrep are not completely understoodor appreciated. Basically, their jobis to obtain business from nationaladvertisers for the local stationsthat they represent and to servicethese advertisers on behalf of thestations. Representatives deal in"Spot" TV as opposed to network.Spot advertising does not necessar-ily refer to spot announcementsbut to spotting the TV campaigr,in those selected areas, stations.programs and times, judged to bethe most effective for the particularadvertiser.

Flexibility Big Advontoge

Selectivity and flexibility are thebig advantages that Spot TV offers.The Spot advertiser can use non-interconnected stations if he electsto do so (always the best per-dollar-buy) and he can choose the stationwith the best equipment and hav-ing the best reception. Such an ad-vertiser can expand or reduce hisschedule and budget at will, he canpiek markets where he has productdistribution and can allocate moremoney to individual markets wheresales may be weak.

Naturally, this type of advertis-ing requires the advertiser andagency to obtain and consider agreat many facts and to tend to avariety of details. The rep's func-tion here is to supply prospectiveadvertisers and TV time buyers

MAR,CH, I95I

ATV

COVERAGE MAPS ore supplied bythe reps for eoch of their stotions.The one obove shows the signolpenetrotion of WFAA-TV, Dollos.

One other important difference:TV representation is much morecompetitive. When representing a50,000 watt, low wave length AMradio station, the rep is at thirdbase already on'the way to a sale.In the case of TV, however, practi-cally all TV statioris cover a 40 to60 mile radius. Consgquently, inpractically no instances does a TVstation have wide coverage superi-ority over a competitor. So in TVrepresentation they have to sell thesuperiority of programming, talent,ratings where available, and per-formance.

Television Seporoted

Therefore, television operationshave been separated from radio tosome extent by almost all reps. Agood example of a progressive TVdepartment operating independ-ently of its AM counterpart isfound in the Edward Petry organi-zation.

Under the guidance of TV direc-tor, Tom Dawson, Petry has com-pletely independent television salesservice, research and promotion de-partments, as well as exclusive TVsales staffs in three eities (com-bined sales in five other cities).They have this separation at thepromotion and selling level whilestill benefiting from the adminis-trative experience and financialsupport of a well established AMoperation.

Because of the prestige antlfriendly relations developed by thereps, their salesmen are able to gainentrance to the offices of top buyersof time in order to present the factsconcerning their stations.

Each Petry salesman is providedwith a 220-page sales manual con-

7

in ActionHow q representotive lirm seryes the tefecoster ond the advertiser

with all pertinent information re-Iating to the particular stationsthat they represent.

AII but one TV station repre-sentative (Harrington, Righter andParsons, Inc.) represent AM sta-tions also. A few represent news-papers as well. The networks havealso set up departments to handlespot sales. Most reps work on a setcommission ranging from ten tofifteen per cent, paid to them by thestation on business actually run.

There are many more technicaldetails to be mastered in TV repre-sentation than there are in AM-what size slides does each stationrequire for its quiekies, what per-cent of same must be left free forthe station's call ]etters. what kindof film is the station equipped tohandle, when does a certain com-mercial require camera and whatis the camera charge per time unitfor each station caruying the ac-count. This is some of the informa-tion which the TV representativemust have at his finger tips.

A TV

Station Rep

in Action

How a represenfative firm serves the telecaster and the advertiser

THE business that Station Reps obtain, accounts for over one

third of the total revenue of the 107 stations on the air today. With Spot TV's impact and flexibility, plus the lack of available network time and cable facilities, this proportion is on the increase.

Yet the functions of the station rep are not completely understood or appreciated. Basically, their job is to obtain business from national advertisers for the local stations that they represent and to service these advertisers on behalf of the stations. Representatives deal in "Spot" TV as opposed to network. Spot advertising does not necessarily refer to spot announcements but to spotting the TV campaign in those selected areas, stations, programs and times, judged to be the most effective for the particular advertiser

Flexibility Big Advantage Selectivity and flexibility are the

big advantages that Spot TV offers. The Spot advertiser can use non- interconnected stations if he elects to do so (always the best per-dollar- buy) and he can choose the station with the best equipment and having the best reception. Such an advertiser can expand or reduce his schedule and budget at will, he can pick markets where he has product distribution and can allocate more money to individual markets where sales may be weak.

Naturally, this type of advertising requires the advertiser and agency to obtain and consider a great many facts and to tend to a variety of details. The rep's function here is to supply prospective advertisers and TV time buyers

with all pertinent information re- lating to the particular stations that they represent.

All but one TV station representative (Harrington, Righter and Parsons, Inc.) represent AM stations also. A few represent newspapers as well. The networks have also set up departments to handle spot sales. Most reps work on a set commission ranging from ten to fifteen per cent, paid to them by the station on business actually run.

There are many more technical details to be mastered in TV representation than there are in AM— what size slides does each station require for its quickies, what percent of same must be left free for the station's call letters, what kind of film is the station equipped to handle, when does a certain commercial require camera and what is the camera charge per time unit for each station carrying the account. This is some of the information which the TV representative must have at his finger tips.

COVERAGE MAPS are supplied by the reps for each of their stations. The one above shows the signal penetration of WFAA-TV, Dallas.

One other important difference: TV representation is much more competitive. When representing a 50,000 watt, low wave length AM radio station, the. rep is at third base already on the way to a sale. In the case of TV, however, practically all TV stations cover a 40 to 60 mile radius. Consequently, in practically no instances does a TV station have wide coverage superiority over a competitor. So in TV representation they have to sell the superiority of programming, talent, ratings where available, and performance.

Television Separared Therefore, television operations

have been separated from radio to some extent by almost all reps. A good example of a progressive TV department operating independ- ently of its AM counterpart is found in the Edward Petry organization.

Under the guidance of TV director, Tom Dawson, Petry has completely independent television sales service, research and promotion departments, as well as exclusive TV sales staffs in three cities (combined sales in five other cities). They have this separation at the promotion and selling level while still benefiting from the administrative experience and financial support of a well established AM operation.

Because of the prestige and friendly relations developed by the reps, their salesmen are able to gain entrance to the offices of top buyers of time in order to present the facts concerning their stations.

Each Petry salesman is provided with a 220-page sales manual con-

MARCH, 1951 7


Chcck thc onothot cm hrlp yomcrt and re ilrrm

on cpprcvol

2.

3.

4,

USE

IIII

[Ulovies

for TUBy Batt*on, All thc isformatioa you nccd tochoose the best equipment, olrrate it c6.ciently and make the most efiective usc offilms on TV. Shows what may go wrong andhow to avoid it; how to edit film, producctides, special efiects, corimercials, nmsreels,combine live scenes with film, and all otherrehoiques. t4.25

Television &FM AntennaGuide

By Noll ad Mandl. Complete data on ellVHF and UHF anteonc, including informa-tion on new tylrs given here for the fint time.Shows how to select the right ry1r for the site,where and how to install it, how to minimizenoise fron transmission line, and all othertechniques neded to insure gening the mostout or aoy ao(€nna system $s.s0

TelevisionforRadiomen

By Noll. Clear, non-mathematical explanationof the opaating principles and function ofsery Intt and circuit io today's TY receivenand the baic principles of uansmission. .Fullinstruction in inscallation, ali8ment, testing,adjustment, trouble-shooting. $7.00

Radio andTelevisionMathematics

By Fischa, 721 sample problems and solu.tions show you what fornulm to use, what nu-merical valua to substitute, and each step inworking out any problem you may encouoterin radio. television or industrial electronics.Cooveniently arranged for quick reference.

06.00

lflts couPonf lhc ilo<milton Co.,60 Filrh Avc., llcw York llI lt*. rend me the books

II

the bmks in l0 days.

l, 2. 3. 4.

I Pl%e snd me the books checked by nu-1 ber below. I will either remit in full" or renunr the bmks in l0 davs.

taining complete descriptions of the287 local programs aired over the12 TV stations that they represent,pictures of programs, success stor-ies, eoverage maps and speciallyprepared market data sheets. Thesedata sheets contain the followinginformation 1 Name of owner, ad-dress, channel, openi,ng date, affilia-tktn, connected, to cable or not, ef-f ecti.ae radia,ted, po,wer, antennaheight, coaerage il'ata, the mailcet(.poltulation, retail sales, f ood sales,drug sales, buying 'income, agricul-ture, banking), operating sched,ule,type of programming, chief person-nel. equipment.

Petry supplements this informa-tion with telegram type bulletinsgiven general and extensive mail-ing to all time buyers calling theirattention to new availabilities. Theyalso send out round-up sheets onparticular categories of programs(women's participation, sports,etc.) carried on the stations theyrepresent.

Robert Hutton, manager of ad-vertising and sales promotion forPetry's TV division, provides addi-tional service for the statibns inthe form of special reports andtailor-made presentations. 'Ihese

ABC Spot Sales7 West 66th Street

Avery-Knodel, Inc.608 Fifth Auenue

Blair-TV, Inc.100 Park Aaenue

The Bolling Company, Inc.lt80 Lenington Aaenue

The Branham Company230 Pa.rk Aaenu,e

CBS Spot Sales185 Madison Auenue

Donald Cooke, Inc.551 Fifth Auenue

DuMont TV Spot'Sales515 Madison Auenue

Forjoe & Compa4y, Inc.19 West 4.Ltlt, Street

Free & Peters. Inc.l4l ll[adison At*e,nue

H-R Represenfatives, Inc.lt05 Lenington Aaenue

Harrington. Righter &Parsons, Inc.347 Madison Aaenue

Headley-Reed Company420 Le.rington Aaenue

FIRMS REPRESENTING TV STATIONS . . .

(New York Ofr,ces)

might be worked up to gain in-creased acceptance of a market andTV in that market, or a specialanalysis of a locally conducted sta-tion survey. It might be to get aspecific account for a specific pro-gram on a specific station or itmight be a general presentation onSpot TV, Daytime TV, etc.

An extra helpful service, devel-oped by Petry, is "simulated televi-sion," a system in which any combi-nation of film and slides can beprojected upon a television screen.As a gesture of good will, adver-tisers and agencies are invited toutilize these facilities in Petry'sspecial viewing room for the pur-poses of studying programs on film,testing commercials as they appearover the air, refining televisiontechniques and showing the clientthe agency's completed commercialin its proper setting.

A fuller understanding of themanifold activities of progressiveTV station reps serves to crystal-lize their importance to the stationin helping increaSe the sales of itstime, and to the advertiser in sup-plying him with the up-to-date fact-ual material he needs.

George P. Hollingbery Company500 Fifth Auenue

The Katz AgencyI88 Madison Aaenue

Kettell-CarterJoh.n H,ancock BICg.Boston, Mass.

Robert Meeker Assoc., Inc.521 Fifth Auentre

NBC Spot Sales30 Rockefeller Plaza

John E. Pearson Co.250 Parh Aoenue

Edward Petry & Company, Inc.488 Madison Aaenue

The Richard Railton Company681 Market StreetSan Francisco, Cali,f .

Paul H. Raymer Company, Inc.l*44 Madison Aaenue

Weed & Company350 Madison Aoenue

WLW Cincinnati630 Fiftll Aaenue

Adam J. Young, Jr., Inc.22 East L}tlt Street

8 TELEVISER

Valuable guides for television technicians

Check the ones that can help you

most and see them on approval

"S

I.

Movies

for TV

By Battison. All the information you need to choose the best equipment, operate it effi- ciently and make the most effective use of films on TV. Shows what may go wrong and how to avoid it; how to edit film, produce titles, special effects, commercials, newsreels, combine live scenes with film, and all other techniques. $4.25

2,

Television &

FM Antenna

Guide By Noll and Mandl. Complete data on all VHP and UHF antennas, including information on new types given here for the first time. Shows how to select the right type for the site, where and how to install it, how to minimize noise from transmission line, and all other techniques needed to insure getting the most out of any antenna system. $5.50

Televbion

for

Radomen By Noll. Clear, non-mathematical explanation of the operating principles and function of every part and circuit in today's TV receivers and the basic principles of transmission. Full instruction in installation, alignment, testing, adjustment, trouble-shooting. $7.00

4.

Radio and

felevis )n

MathemaldOS By Fischer. 721 sample problems and solu- tions show you what formulas to use, what numerical values to substitute, and each step in working out any problem you may encounter in radio, television or industrial electronics. Conveniently arranged for quick reference.

$6.00

use THIS COUPON \ I The Macmillan Co., 60 Fifth New York 11

J Please send me the books checked by num- ■ her below. I will ither rem.t in full or .erurn • the books in 10 days

1. 2. . | Signed

I Addres. _,V

taininp- complete descriptions of the 287 local prop-rams aired over the 12 TV stations that they represent, pictures of programs, success stories, coverage maps and specially prepared market data sheets. These data sheets contain the following information; Name of owner, address, channel, opening date, affilia- tion, connected to cable or not, effective radio,ted power, antenna height, coverage data, the market {population, retail sales, food sales, drug sales, buying income, agricul- twK, banking), operating schedule, type of programming, chief personnel, equipment.

Petry supplements this information with telegram type bulletins given general and extensive mail- ing to all time buyers calling their attention to new availabilities. They also send out round-up sheets on particular categories of programs (women's participation, sports, etc.) carried on the stations they represent.

Robert Hutton, manager of advertising and sales promotion for Petry's TV division, provides additional service for the stations in the form of special reports and tailor-made presentations. These

might be worked up to gain increased acceptance of a maiket and TV in that market, or a special analysis of a locally conducted station survey. It might be to get a specific account for a specific program on a specific station or it might be a general presentation on Spot TV, Daytime TV, etc.

An extra helpful service, developed by Petry, is "simulated television," a system m which any comoi- nation of film and slides can be projected upon a television screen. As a gesture of good will, advertisers and agencies are invited to utilize these facilities in Petry's special viewing room for the pur- poses of studying programs on film, testing commercials as they appear over the air, refining television techniques and showing the client the agency's completed commercial in its proper setting.

A fuller understanding of the manifold activities of progressive TV station reps serves to crystal- lize their importance to the station in helping increase the sales of its time, and to the advertiser in supplying him with the up-to-date fact- ual material he needs

FIRMS REPRESENTING TV STATIONS .

{NtHu York Offices)

ABC Spot Sales 7 West 66th Street

Avery-Knodel, Inc. 608 Fifth Avenue

Blair-TV, Inc. 100 Park Avenue

The Boiling Company, Inc. ASO Lexington Avenue

The Branham Company 230 Park Avenue

CBS Spot Sales JtSff Madison Avenue

Dorald Cooke, Inc. 551 Fifth Avenue

DuMont TV Spot Sales 515 Madison Avenue

Forjoe & Company, Inc. 19 West ilth Street

Free & Peters. Inc. •444 Madison Avenue

H-R Representatives, Inc. 405 Lexington Avenue

Harrington, Righter & Parsons, Inc. 347 Madison Avenue

Headley-Reed Company 420 Lexington Avenue

George P. Hollingbery Company 500 Fifth Avenue

The Ratz Agency 488 Madison Avenue

Kettell-Carter John Hancock Bldg. Boston, Mass.

Robert Meeker Assoc., Inc. 521 Fifth Avenfye Tl

NBC Spot Sales SO Rockefeller Plaza

John E. Pearson Co. 250 Park Avenue

Edward Petry & Company, Inc. 488 Madison Avenue

The Richard Railton Company 681 Market Street San Francisco, Calif.

Paul H. Raymer Company, Inc. 444 Madison Avenue

Weed & Company 350 Madison Avenue

WLW Cincinnati 630 Fifth Avenue

Adam J. Young, Jr., Inc. 22 East 40th Street

8 TELEVISER


I

The need for experienced TV writersmoy be sotisfied by . . .

WILLIAM KOZLENKO hos o thorough ond diversified bockground indromotic ploywriting. He hos edited twelve volumes of short ploys, in l94lhe won Droms Awqrd for the best short ploy, (Jocob Comes Home), he hosqlso written 'Trumpets of Wroth" (presented simultoneousty in ll5 theotresin Englond), ond "The Eorth is Ours," (published in 3 "Best One-Act PloyAnthologies"). He wos the director of : One-Act Repertory Theotre, New YorkTheotre, Short Drqma Theotre qnd Theotre Workshop-Federol Theqtre. Mr.Kozlenko hos worked on severol odcptotions qnd screen ploys in Hollywood.He wos the editor of "One Hundred Rodio Ploys," "One-Act Ploy Mogozine,""Europc" mogozine ond hos been o book reviewer on dromo ond filmfor theNew York Times. He is o member of "Writers' Theotre for Television" (ScreenWriters Guild) ond is presently odopting television ploys for Pulitzer PrizePloyhouse (ABC), ond "Studio One," CBS.

MAR.CH, I95I

is more than one thing. It is manythings in one: it is an editorial job,requiring skill to excise and trimto conform not only to the exigen-cies of time but to replace and adddramatic continuity which has beendeleted. And, not least, it requiresa talent to "adapt" the creative at-titude of the original writer. Thelast is no gratuitous addition towhat may overtly seem to be onlya formal and mechanical routine ofcutting down the story or the playto its proper length and insertingcamera shots, dissolves, directions,scenes, complete with appropriatedialogue and action.

The ability to "adapt" the atti-tude of the original writer, that is,to put oneself literally in his. placeas though one were writing thestory oneself, is the very essence ofa good adaptation and one thatstands out, when performed, as adistinguished contribution to tele-vision drama.

Having made these points, how-ever, we must try in all fairness todetermine if the writer is solely toblame for being what the m.p. pro-ducer calls a "verbal scene-shifterand juggler of another writers' dia-logue, scenes and action." fs henothing more than that? And mustthe writer be criticized for a badand hasty script if he is only hiredto do a job of "cutting" and "trim-ming" a story or a play to fit a halfhour or an hour show? fn manycases he has little time to do morethan that even if he is capable ofdoing more.

Time Not Expendable

The requirements of televisiontoday are such that time is the onlything that is not expendable. But

I

A Theqtre for Television

by Williom Kozlenko

fN A DISCUSSION recently withI a prominent Hollywood motion-pieture producer 'regarding theplace of the writer in television, hemade the startling statement that"there is no such thing get as a realwriter in television. What you calla u'riter is really an 'adaptor' ofstories and plays. And an 'adaptor'is nothing more than a verbal scene-shifter and juggler of anqther writ-ers' dialogue, scenes and action.The writer of original televisionmaterial," he summarized, "is asscarce as a television set on a mo-tion-picture sound stage in Holly-wood."

Though half true, his statementnevertheless set me thinking. Oneof my dictionaries defines "adapt"as "suit, fit, modify, alter." Seman-tically, the motion-picture producerwas correct as it would be difficultto deny that to "adapt a thing to an-other" is to "suit, fit, modify,alter."

Definition LockingHowever, correct as this defini-

tion may be semantically, when ap-

plied to dramatic or literary adap-tation, it seeiningly lacks an impor-tant element. It makes no allowancefor the contribution of the "adap-tor" to the original source exceptin a rigidly mechanical and Iiteralsense. For if one wcre to define thework of a tailor one would have toacknowledge that he also "suits,fits, modifies and alters."

Perhaps the motion-picture pro-ducer would argue, and rightly, thatwhen a writer takes a story or aplay and "adapts" it, he is essen-tially "tailoring" it to "fit" theform, size and dimensions of some-thing else. That is true. One mustadmit there are writers. like thereare tailors, who strive to endowtheir workmanship with distinctionand style; and there are others whoseemingly work on the assembly-line, cutting their "cloth" from astandard ]ast that will fit practi-cally anybody or anything.

It is unfornate that most adapta-tions are no more than mechanicaland routine and the "adaptor" anexpert "cutter" and "fitter." It isunfortunate because an adaptation

The need for experienced TV writers

may be satisfied by . . .

A Theatre for < elevision

by William Kozlenko

IN A DISCUSSION recently with a prominent Hollywood motion-

picture producer 'regarding the place of the writer in television, he made the startling statement that "there is no such thing yet as a real writer in television. What you call a writer is really an 'adaptor' of stories and plays. And an 'adaptor' is nothing more than a verbal scene- shifter and juggler of another writers' dialogue, scenes and action. The writer of original television material," he summarized, "is as scarce as a television set on a motion-picture sound stage in Holly- wood."

Though half true, his statement nevertheless set me thinking. One of my dictionaries defines "adapt" as "suit, fit, modify, alter." Seman- tically, the motion-picture producer was correct as it would be difficult to deny that to "adapt a thing to another" is to "suit, fit, modify, alter."

Definition Lacxing However, correct as this defini-

tion may be semantically, when ap-

plied to dramatic or literary adaptation, it seemingly lacks an important element. It makes no allowance for the contribution of the "adaptor" to the original source except in a rigidly mechanical and literal sense. For if one were to define the work of a tailor one would have to acknowledge that he also "suits, fits, modifies and alters."

Perhaps the motion-picture producer would argue, and rightly, that when a writer takes a story or a play and "adapts" it, he is essen- tially "tailoring" it to "fit" the form, size and dimensions of something else. That is true. One must admit there are writers, like there are tailors, who strive to endow their workmanship with distinction and style; and there are others who seemingly work on the assembly- line, cutting their "cloth" from a standard last that will fit practically anybody or anything.

It is unfornate that most adaptations are no more than mechanical and routine and the "adaptor" an expert "cutter" and "fitter." It is unfortunate because an adaptation

is more than one thing, It is manj things in one: it is an editorial job, requiring skill tc excise and trim to conform not only to the exigen- cies of time but to replace and add dramatic continuity which has been deleted. And, not least, it requires a talent to "adapt" the creative at- titude of the original writer. The last is no gratuitous addition to what may overtly seem to be only a formal and mechanical routine of cutting down the story or the play to its proper length and inserting camera shots, dissolves, directions, scenes, complete with appropriate dialogue and action.

The ability to "adapt" the atti- tude of the original writer, that is, to put oneself literally in his place as though one were writing the story oneself, is the very essence of a good adaptation and one that stands out, when performed, as a distinguished contribution to television drama.

Having made these points, however, we must try in all fairness to determine if the writer is solely to blame for being what the m.p. producer calls a "verbal scene-shifter and juggler of another writers' dialogue, scenes and action." Is he nothing more than that? And must the writer be criticized for a bad and hasty script if he is only hired to do a job of "cutting" and "trim- ming" a story or a play to fit a half hour or an hour show? In many cases he has little time to do more than that even if he is capable of doing more.

Time Not Expendable The requirements of television

today are such that time is the only thing that is not expendable. But

WILLIAM KOZLENKO has a thorough and diversified background in dramatic playw 'ting. He nas edited twelve volumes of short plays, in 1941 he won Drama Award for the best short play, (Jacob Comes Home), he has also written "Trumpets of Wrath" (presented simultaneously in 115 theatres in England), and " he Earth is Ours," (published in 3 "Best One-Act Play Anthologies"). He was the director of One-Act Repertory Theatre, New York Theatre, Short Drama Theatre and Theatre Workshop—Federal Theatre. Mr. Kozlenko has worked on several adaptations and screen plays in Hollywood. He was the editor of "One Hundred Radio Plays," "One-Act Play Magazine," Europa" magazine and has been a book reviewer on drama and film for the

New York Times. He is a memoer of "Writers' Theatre for Television" (Screen Writers Guild) and is presently adapting television plays for Pulitzer Prize Playhouse (ABC), and "Studio One," CBS.

MARCH, 1951 9


there is a more pertinent reasonwhy, to quote my m.p. producerfriend again, "there is no suchthing yet as a real writer in tele-vision." (He might have addedthere won't be until television it-self does sornething about it.) Byits very nature of being essentiallya "one shot" medium, using up somuch material, television absorbsthe mediocre as well as the good. Ithas no standards, except minor andfluctuating ones, with which toseparate the good from the bad.But worse than that, it has no timeto spend on such selectivity. Thetremendous need for dramatic ma-terial every day, plus the growingdearth of suitable stories and plays,and the terrific competition whengood ones are available; contributesto an increasingly unhealthy situa-tion.

Hence the writer is simultane-ously the "kingpin" and the scape-goat in TV. If he is not compelledto turn out adaptations faster thanthe TV producers can find and sup-ply him with material, and thusforced to sacrifice creative collabo-ration for peremptory "tailoring,"he has litUe time to devote to thewriting of original scripts. And ifhe finally manages to complete acouple of good original televisionscripts, the program which he mayhave intended it for has been can-celled or has changed its require-ments.

This condition does not exist inthe theatre, radio or motion pic-tures, at least not to the degree thatit exists at present in television.The screenwriter, like the radio.writer and the dramatist, has someawareness of who and what he iswriting for. He is familiar withthe techniques of his craft: its areaof limitations and its potentialities.He is thus able to apply his knowl-edge and experience to a mediumwith which he is at least teehnicallyfamiliar.

The television writer is in nosuch fortunate position since,truthfully speaking, television hasnot yet developed its own writing.craftsmen. It has borrowed freelyfrom the motion pictures, the thea-tre, radio, newspapers and adver-tising agencies. Until it does de-velop its own craftsmen, and, notleast, its own material, it will con-tinue to go through this bedlam of;trying to keep one week ahead of'the following week's show, of grab-bing anything and everlything that

10

can be dramatized and adapted intime for presentation on the tele-vision screen.

A solution to this condition,which will become progressivelyworse as the broadcasting facilitiesof TV expand, is for television-andby television I mean the executivesof the networks, the advertisingagencies and, most of all, the spon-s61s-ls establish and secure itseconomic and creative future by be-ginning to make plans now to nur-ture, develop and encourage its owncreative talents in writing, acting,directing and producing. It mustbuild up a I'eserve of new freshyoung writers who will devote them-selves to supplying TV with newmaterial as the motion-picture stu-dios have built up a reserve of wri-ters for the screen. These writersshould be given every opportunity tothink, live and work for television.

All these future authors and play-wrights will not come from collegesand journalism classes, to be grab-bed up and absorbed by networkwriting staffs. These writers mayserve as a temporary stopgap; butto become an expert television wri-ter, in every sense of the word, re-quires experience. But experiencetakes time. And time in televisionis, as we know, an expensive com-modity.

Television TheotreNo, the answer, it seems to me,

lies in working toward a TelevisionTheatre, which will attract all newyoung talent, while, at the sametime, utilizing all the resources im-mediately available and at our dis-posal. But these should go hand inhand. While $'orking in the present,plans must be made for the future.It is to provide for the future thata Television Theatre must be estab-lished now.

It is a truism to say that a suc-cessful business enterprise is inter-ested in insuring not only its pres-ent assets but guaranteeing its fu-ture ones, too. The future assets oftelevision exist not only in its vastreal estate holdings, its netrvork ofstations, its potential sponsors, butin its future talents. In view of thetremendous necessity for new writ-ers and new material, it is imper-ative that this fact be aeknowledgedand steps be taken to organize andstimulate the steady flow of futuredramatic material.

A step in this direction has al-ready been taken with the announce-

ment of the organization of a Tele-vision Repertory Theatre. That suchan organization is recognized to beindispensable, is evidenced by theenthusiastic response from actors,writers, directors and producers andthe gratifying promise of supportfrom newspapers and a few execu-tives.

Such a Television Theatre will,when it begins to function, be aninvaluable incentive for establishecwriters to write for TV, since oneof the most deterring factors in per-mitting their work to be done ontelevision today is the ephemeraldramatic program based on the for-mula of the "one shot." But, morethan that, it will attract and retainmany new writers who will devotethemselves entirely to writing forTV.

Because of the exigency of time,such a Television Theatre willof necessity be a theatre project ofshort plays. Since the short play re-quires only a half-hour, it is essen-tially the basic form of televisiondrama. But there are no limitations.except that of scene, charactersand time, to the short play. Thevast literature of the short play isabundant with "variety": comedy,drama, farce, melodrama, tragedy,mystery, etc. There are as manyentertainment values in the shortplay as there are in the long play,except that it is a half hour shorter.

But it is not enough to "put on"a series of short plays without some-thing cohesive to hold it together.This "something" may either be apersonality or a "gimmick". For-tunately, the Television RepertoryTheatre, to which I refer, has both.But its chief objective is not theindiscriminate acquisition of acatalogue of plays, which is theprimary function of a play pub-lisher, but, rather, a "living" theatreto which nerv writers will contributetheir stories and plays; and newdirectors and actors will direct andperform in them.

Provided with such a creativeand entertaining theatre, televisionwill secure not only its future au-diences, which must have new playsto keep its interest alive, but it willalso build up a valuable reserve ofwriting talent and story material,thus beginning to give of what ithas itself nurtured and broughtforth. It is only then that the "tele-vision writer" will become a factinstbad of a synthetic figure ofspeech.

ta

TELEVISER

there is a more pertinent reason why, to quote my m.p. producer friend again, "there is no such thing yet as a real writer in television." (He might have added there won't be until television itself does something about it.) By its very nature of being essentially a "one shot" medium, using up so much material, television absorbs the mediocre as well as the good. It has no standards, except minor and fluctuating ones, with which to separate the good from the bad. But worse than that, it has no time to spend on such selectivity. The tremendous need for dramatic material every day, plus the growing dearth of suitable stories and plays, and the terrific competition when good ones are available, contributes to an increasingly unhealthy situation.

Hence the writer is simultaneously the "kingpin" and the scape- goat in TV. If he is not compelled to turn out adaptations faster than the TV producers can find and supply him with material, and thus forced to sacrifice creative collabo- ration for peremptory "tailoring," he has little time to devote to the writing of original scripts. And if he finally manaores to complete a couple of good original television scripts, the program which he may have intended it for has been can- celled or has changed its requirements.

This condition does not exist in the theatre, radio or motion pictures, at least not to the degree that it exists at present in television. The screenwriter, like the radio- writer and the dramatist, has some awareness of who and what he is writing for. He is familiar with the techniques of his craft: its area of limitations and its potentialities. He is thus able to apply his knowledge and experience to a medium with which he is at least technically familiar.

The television writer is in no such fortunate position since, truthfully speaking, television has not yet developed its own writing craftsmen. It has borrowed freely from the motion pictures, the theatre, radio, newspapers and advertising agencies. Until it does develop its own craftsmen, and, not least, its own material, it will continue to go through this bedlam of trying to keep one week ahead of vhe following week's show, of grab- bing anything and everything that

can be dramatized and adapted in time for presentation on the television screen.

A solution to this condition, which will become progressively worse as the broadcasting facilities of TV expand, is for television—and by television I mean the executives of the networks, the advertising agencies and, most of all, the sponsors—to establish and secure its economic and creative future by beginning to make plans now to nur- ture, develop and encourage its own creative talents in writing, acting, directing and producing. It must build up a reserve of new fresh young writers who will devote themselves to supplying TV with new material as the motion-picture studios have built up a reserve of writers for the screen. These writers should be given every opportunity to think, live and work for television.

All these future authors and play- wrights will not come from colleges and journalism classes, to be grab- bed up and absorbed by network writing staffs. These writers may serve as a temporary stopgap; but to become an expert television writer, in every sense of the word, requires experience. But experience takes time. And time m television is, as we know, an expensive com- modity.

Television Theatre No, the answer, it seems to me,

lies in working toward a Television Theatre, which will attract all new young talent, while, at the same time, utilizing all the resources immediately available and at our dis- posal. But these should go hand in hand. While working in the present, plans must be made for the future. It is to provide for the future that a Television Theatre must be established now.

It is a truism to say that a successful business enterprise is interested in insuring not only its present assets but guaranteeing its future ones, too. The future assets of television exist not only in its vast real estate holdings, its network of stations, its potential sponsors, but in its future talents. In view of the tremendous necessity for new writers and new material, it is imper- ative that this fact be acknowledged and steps be taken to organize and stimulate the steady flow of future dramatic material.

A step in this direction has already been taken with the announce-

ment of the organization of a Tele- vision Repertory Theatre. That such an organization is recognized to be indispensable, is evidenced by the enthusiastic response from actors, writers, directors and producers and the gratifying promise of support from newspapers and a few executives.

Such a Television Theatre will, when it begins to function, be an invaluable incentive for established writers to write for TV, since one of the most deterring factors in permitting their work to be done on television today is the ephemeral dramatic program based on the formula of the "one shot." But, more than that, it will attract and retain many new writers who will devote themselves entirely to writing for TV.

Because of the exigency of time, such a Television Theatre will of necessity be a theatre project of short plays. Since the short play requires only a half-hour, it is essen- tially the basic form of television drama. But there are no limitations, except that of scene, characters and time, to the short play. The vast literature of the short play is abundant with "variety": comedy, drama, farce, melodrama, tragedy, mystery, etc. There are as many entertainment values in the short play as there are in the long play, except that it is a half hour shorter.

But it is not enough to "put on" a series of short plays without something cohesive to hold it together. This "something" may either be a personality or a "gimmick". For- tunately, the Television Repertory Theatre, to which I refer, has both. But its chief objective is not the indiscriminate acquisition of a catalogue of plays, which is the primary function of a play publisher, but, rather, a "living" theatre to which new writers will contribute their stories and plays; and new directors and actors will direct and perform in them.

Provided with such a creative and entertaining theatre, television will secure not only its future audiences, which must have new plays to keep its interest alive, but it will also build up a valuable reserve of writing talent and story material, thus beginning to give of what it has itself nurtured and brought forth. It is only then that the "television writer" will become a fact instead of a synthetic figure of speech.

10 TELEVISER


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Estimqting Operqting Costsby C. E. Nicholson

Chief Accountant, Parumount Teleais[on proiluctions, Inc.

THE immediate consideration ofr our company upon entering itsfield was to develop; and obtainreasonably accurate costs for theproduction and telecasting of pro-grams over station KTLA, Los An-geles. In. developing our cosf, ac-counting system we sought: (1)accurate costs at minimum expense,and (2) a flexible cost system and'one adequate to. meet all future re-quirements of expansion

Elements of Progrom CostingOur cost accounting method was

based upon a survey made of actualtechnical operating proeedures andfacilities required in the telecastingof programs. Various types of pro-grams may require all, or only apart of the technical facilities ofthe station. Hence, a program costsystem was established' along func-tional lines as a means of collectingand distributing departmental over-head to programs on a basis whichrecognizes only the cost of snecificfacilities used. The following e*-amples illustrate the use of particu-lar equipment for speciflc liinds ofprograms:A sports eaent would use:

A mobile unitRelay tower or coaxial cableControl roomTransmitterFilm studio if film inserts are

usedLive studio if live commercials

are usedA fiIm show would, u,se:

Film studioControl roomTransmitter

This ma,terial has been eucerpteilfrom an utti,cle in tlte N.A,C.A.Bulletin pttblisheil by the Na,tionalAssociation of Cost Aecountants.

t2

It poys to know whot your stotion poys

A studio progranl toould, use:Live studioFilm studio if film inserts are

used ,, 1.1 '

Control room .,r .

Transmitter i

We established procedures to de-velop. the cost per minute of op-erating. each faeflity. Ther stationkeeps a daily program log showingthe program, number, p,iiog:iamname, time of start and finish ofeach program, minutes consumed,sponsor, and whether the programis remote, live studio, or film. Thislog serves as a basis for both dis-tributing costs and billing sponsors.' Sales are made on a contractualbasis whether it be for a single pro-gram or a series of programs. Eachtype of program sold.can and oftendoes include the sale of one or allspecial activities of the station, i.e.,time, facilities, talent and materials.. fnvoices rendered to customersare. itemized accordingly, showingthe necessary activities furnishedto produce the particular programcontracted for. Charges for facili-ties furnished include amounts foritems such as telecast studio rooms,cameras, dollies, microphone booms,fixed microphones, internal re-flector lighting units, spoilightsand sound equipment as required.Talent and material salesr includethe cost of talent hired to make upthe type of acts or entertainmentas required by the sponsor. Suchtalent hired may make up a part ofa program or be a complete showwithin itself. Material charges in-clude such items as royalties, slidesused as inserts, costume rentals,stage scenery, etc.

Sales fall into four categories:live studio (including program),remote, film programs and spot an-nouncements. Separate accounts

are maintained to shorv these fourclasses of income and compare themwith the iosts of the respective pro-grams.

Discount ond Soles PromotionBefore going into the direct and

departmental operating costs oftelecasting, it is perhaps desirableto mention two costs typical of theline of business which are an in-tegral. pa'rt of the accounts but notof the cost system. These are agencydiscount. and sales promotion andpublicity expenses.

Normally, a fifteen per cent com-mission is allowed to recognizedagencies.on net time charges, studiouse, r€mote' facilities and produc-tion services. Also frequeniy dis-counts arer allowed and apply. tocharges for air time and facilitiesonly. They are based on totatnum-ber of programs telecast during aconsecutive twelve month,,period.The percentage bf frequency dis-.count increases in proportion to thenumber of programs covered by thecontract.

Promotion and publicity costs in-curred. in the selling of programsinclude such items as salaries andexpenses of personnel engaged inselling programs to advertisers,costs of publieity releases ro news-papers and others regarding sta-tion program and talent news, andexpense of handling studio toursand program audience. This typeof expense is accumulated undersales promotion and publicity ac-counts, which are allocated to pro-grams on a sales dollar basis.

Progrom Costs

Direct program costs consistprimarily of all labor and expensedirectly incurred in connectionwith and applicable to the produc-

I

I

:J

J

TELEVISER,

It pays to know what your station pays

stimating Operating Costs

by C. E. \ cholson

Chief Accountant, Paramount Television Productions, Inc.

THE immediate consideration of our company upon entering: its

field wns to develop and obtain reasonably accurate costs for the production and telecasting of programs over station KTLA, Los An- geles. In developing our cost accounting system we sought: (1) accurate costs at m nimum expense, and (2) a flexible cost system and one adequate to meet all future requirements of expansion.

Elements of Program Costing Our cost accounting method was

based upon a survey made of actual technical operating procedures and facilities required in the telecasting of programs. Various types of programs may require all or only a part of the technical facilities of the station. Hence, a program cost system was established along func- tional lines as a means of collecting and distributing departmental overhead to programs on a basis which recognizes only the cost of specific facilities used. The following examples illustrate the use of particular equipment for specific kinds of programs: 4. sports event would use:

A mobile unit Relay tower or coaxial cable Control room Transmitter Film studio if film inserts are

used Live studio if live commercials

are used 4 film show would use:

Film studio Control room Transmitter

This material has been excerpted from an article in the N.A.C.A. Bulletin published by the National Association of Cost Accountants.

A studio program/'Would use: Live studio Film studio if film inserts are

used Control room Transmitter We established procedures to de-

velop the cost per minute of operating each facility. The station keeps a daily program log showing the program number, program name, time of start and finish of each program, minutes consumed, sponsor, and whether the program is remote, live studio or film. This log serves as a basis fcr both distributing costs and billing sponsors.

Sales are made on a contractual basis whether it be for a single program or a series of programs. Each type of program sold can and often does include the sale of one or all special activities of the station, ie., time, facilities, talent and materials.

Invoices rendered to customers are itemized accordingly, showing the necessary activities furnished to produce the particular program contracted for. Charges for facilities furnished include amounts for items such as telecast studio rooms, cameras, dollies, microphone booms, fixed microphones, internal reflector lighting units, spotlights and sound equipment as required. Talent and material sales include the cost of talent hired to make up the type of acts or entertainment as required by the sponsor. Such talent Hired may make up a part of a program or be a complete show within itself. Material charges include such items as royalties, slides used as inserts, costume rentals, stage scenery, etc.

Sales fall into four categories: live studio i including program), remote, film programs and spot announcements. Separate accounts

are maintained to show these four classes of income and compare them with the costs of the respective programs.

Discount and Sales Promotion Before going into the direct and

departmental operating costs of telecasting, it is perhaps desirable to mention two costs typical of the line of business which are an in- tegral part of the accounts but not of the cost system. These are agency discount and sales promotion and publicity expenses.

Normally, a fifteen per cent commission is allowed to recognized agencies on net time charges, studio use, remote facilities and production services. Also frequency dis- counts are allowed and apply to charges for air time and facilities only. They are based on total number of programs telecast during a consecutive twelve month period The percentage of frequency discount mcreases in proportion co the number of programs covered by the contract.

Promotion and publicity costs incurred in the selling of programs include such items as salaries and expenses of personnel engaged in selling programs to advertisers, costs of publicity releases to newspapers and others regarding station program and talent news, ana expense of handling studio tours and program audience. This type of expense is accumulated under sales promotion and publicity accounts, which are allocated to programs on a sales dollar basis.

Program Costs Direct program costs consist

primarily of all labor and expense directly incurred in connection with and applicanle to the produc-

12 TELtVISER


tI

.I

t

tion and telecasting of a specificprogram. Labor is distributed un-der three classifications. Produc-tion salaries include writers, di-rectors, artists, art directors, cam-eramen, news editors and makeup.Craft salaries include carpenters,electricians, propmen and stage-hands. Talent salaries include actorsand actresses, vocalists, dancers,musicians, models, announcers andmoderators.

Other items of expense directlyapplicable to programs, includesuch items as rights and royalties,film rentals, transportation, slidesand title cards, costume rentals. etc.Each program is assigned a num-ber to be used with expense sub-account numbers to accumulate thedirect costs applicable to that par-ticular program.

In addition to the direct costs,there are services rendered to pro-grams by the various departmentalgroups. These are the costs whichmust be absorbed on a time basis.The station operates entirely on adepartmental basis and every itemof cost not directly applicable to aspecific program is charged to aservice department or, if it cannotbe identified with a specific servicedepartment or program, it ischarged to general administrativeoverhead. The service facrlities,named in an illustrative way earlierin this paper, are charged direct toprograms on a minute rate basisto absorb the operational cost ofthe department. Costs of the gen-eral administrative department arealso charged to programs on a costper minute basis, calculated to ab-sorb all general overhead costs.

The station operates under regu-lations of the Federal Communica-tions Commission. The daily pro-gram log is a requirement of thecommission and, as has been stated,also serves as an excellent basis forcost distribution. It facilitatespreparation of Departmental Ex-penditures which is issued weeklyshowing the operating expensesof each department for the week.The number of minutes of opera-tion of each department for theweek is obtained from the pro-gram Iog. Total departmental costof operation divided b]'" minutesconsumed gives the cost per minuteto be distributed to programs usingthe facilities of the particular de-partment.

MARpH, lgst

Deportmentol Operotions

The mobile uni.t consists of apanel truck equipped with two tele-vision cameras, camera dollies,cables, lights and other miscella-neous equipment and parts. Per-sonnel consists of two cameramen,four technicians. and one trans-mitter and control engineer who isalso in charge of the unit.

The filrn stud,io is equipped forcontinuous showing of 16 mm and35 mm silent or sound film and also35 mm slide projectors and balop-tican. In addition to maintenanceand upkeep this department bearsthe salaries of one motion picturefllm projectionist, a slide projec-tionist and one-half of the film di-rector's salary.

The liae studio maintains andfurnishes the following facilities:stage space, dolly mounted orticoncameras, microphone booms, fixedmicrophones, internal reflectorlighting units, spotlights and ad-justable lighting units individuallycontrolled. The technical staff con-sists of cameramen, stagehands,boom operators, and electrical op-erators. Their salaries are chargeddirectly to individual live programs.The only personnel charged to livestudio operation are the productionmanager and production co-ordina-tor who are responsible for all livetelecasts as their time cannot beequitably distributed to any par-ticular program.

The control room, unit furnishes

t3

PARAMOUNT TELEVISION PROOUCTIONS, INC.Hollyeood 38. Colifornio

Stot;on KTLA

SUMMARY OF INCOME AND EXPENSE

NCOM€Cur.nl Cumulorivo

To Do1.

901 SALES

Focililio3Prog.oor. Toloir ond Molo.iokvideo T.o.r.riDtion Sol.3 oid R6nrols

9r I

9ll

Lo!3:496.<y Dicountla<<: Sale< F'ar"<.

NEI SALES

FXPFNDITURFS

r0lSALARIES APPLICAETE DIRECTLY TO PROGUMS

r0l Produ.6r o.d Sto{f

r05

r07 News Editor oid Sto{f

r08

201

202

201

?41

70\ Re0016 T6ch.i.ion3

209 Othe.- Crc{t Soloil.3301 AcloB ond Acte*e!

toz

103

104

305

106 Anio!nce6, Mod6.oioR

309 Oth6r -

Tdl6nt Sdldri6r

401

402

403

404

45406

107

408

409

4t04il1t24t3

4r5

50r

502

503

5il505

600

TronsFdotiooRocording oid R6p.odu.rion

Slides ond Tirles

Co*umo Roirol,P.op€rty

Sco.ic

N6* 56N;co

No* R€ol Sodice

Film Proc6i3i.o ond Editino

Tglsphone ond Powo. Focilito Linca

Vidco Film Srocl

Mk€6lloi€oui

OEPARTMENTAL SAURIES AND EXPENSE

Mob;le Uiit-Solorici o.d Mor.'ioliCoirrol Roon-Solor;ca o.d Mor6riol5

Tro.rditt6r-Soloric o.d Mot..iohLiv6 Srudio-Solori6 oid MoiorioliFild Srudio-Solod.t oid Mor€riol3

turn and telecasting of a specific program. Labor is distributed under three classifications. Produc- tion salaries include writers, directors, artists, art directors, cameramen, news editors and makeup. Craft salaries include carpenters, electricians, propmen and stagehands. Talent salaries include actors and actresses, vocalists, dancers, musicians, models, announcers ana moderators.

Other items of expense directly applicable to programs, include such items as rights and royalties, film rentals, transportation, slides and title cards, costume rentals, etc. Each program is assigned a number to be used with expense sub- account numbers to accumulate the direct costs applicable to that particular program

In addition to the direct costs, there are services rendered to programs by the various departmental groups. These are the costs which must be absorbed on a time basis. The station operates entirely on a departmental basis and every item of cost not directly applicable to a specific program is charged to a service department or, if it cannot be identified with a specific service department or program, it is charged to general administrative overhead. The service facilities, named in an illustrative way earlier in this paper, are charged direct to programs on a minute rate basis to absorb the operational cost of the department. Costs of the general administrative department are also charged to programs on a cost per minute basis, calculated to absorb all general overhead costs.

The station operates under regu- lations of the Federal Communica- tions Commission. The daily program log is a requirement of the commission and, as has been stated, also serves as an excellent basis for cost distribution. It facilitates preparation of Departmental Ex- penditures which is issued weekly showing the operating expenses of each department for the week. The number of minutes of operation of each department for the week is obtained from the program log. Total departmental cost of operation divided by minutes consumed gives the cost per minute to be distributed to programs using the facilities of the particular department.

Departmental Operations The mobile unit consists of a

panel truck equipped with two television cameras, camera dollies, cables, lights and other miscellaneous equipment and parts. Per- sonnel consists of two cameramen, four technicians™ and one transmitter and control engineer who is also in charge of the unit.

The film studio is equipped for continuous showing of 16 mm and 35 mm silent or sound film and also 35 mm slide projectors and balop- tican. In addition to maintenance and upkeep this department bears the salaries of one motion picture film projectionist, a slide projectionist and one-half of the film director's salary.

The live studio maintains and furnishes the following facilities: stage space, dolly mounted orticon cameras, microphone booms, fixed microphones, internal reflector lighting units, spotlights and ad- justable lighting units individually controlled. The technical staff consists of cameramen, stagehands, boom operators, and electrical operators. Their salaries are charged directly to individual live programs. The only personnel charged to live studio operation are the production manager and production co-ordina- tor who are responsible for all live telecasts as their time cannot be equitably distributed to any particular program.

The control room unit furnishes

PARAMOUNT TELEVISION PRODUCTIONS. INC. Station KTLA

SUMMARY OF INCOME AND EXPENSE Acct. No.. INCOME Current Week Cumulative To Dote 901 SALES

Timo Facilities Programs. Totent and MafBriots Video Tronscription Soles and Rentals

TOTAL SALES 9(1 931

Less: Agency Discount Less: Sales Expense

NET SALES EXPENDITURES

101 SALARIES APPLICABLE DIRECTLY TO PROGRAMS

Writers 102 Director ond Staff 103 Producer ond Stoff 104 Artists 105 Art Director 106 Comeromen 107 News Editor ond Staff 108 Moke-up 201 Carpenters 202 Electricians 203 Propmen 204 Stagehands 205 Remote Technicians 209 Other —Craft Salaries 301 Actors and Actresses 302 Vocalists 303 Dancers 304 Musicians 305 Models 306 Announcers, Moderators 309 Other —Talent Salaries

401 OTHER EXPENSE APPLICABLE DIRECTLY TO PROGRAMS

Rights — Royalties 402 Film — Rentals 403 Transportation 404 Recording and Reproduction 405 Slides and Titles 406 Costume Rentals 407 Property 408 Scenic 409 News Service 4(0 News Reel Service 411 Film Processing and Editing 412 Telephone ond Power Facility Lines 413 Video Film Stock 415 Miscellaneous

501 DEPARTMENTAL SALARIES AND EXPENSE

Mobile Unit — Salaries and Materials 502 Control Room — Salaries and Materiols 503 Transmitter — Salaries and Materials 504 Live Studio—Salaries and Materiols 505 Film Studio — Salaries ond Materials 600 General Administrative Salaries and Expense

TOTAL EXPENDITURES NET PROFIT OR JLOSSI

MO-G-W

MARCH, 1951 13


PATAMOIJNT TELEVISION PRODUCTIONS. tNCHollywood 38. Colilornio

Stoiion KTLA

DEPARTMENTAL EXPENDITURES

and maintains the following tech-nical equipment: two synchronizinggenerators, switching console andmonitor, sgund console and 78 rpmlateral and/or vertical double turn-tables. The unit includes the sal-aries of one audio control engineer,one technical engineer, and a tech-nical director.

The tronsrni,tter consists of suchequipment as: sound and videotransmitter, tower, antenna, gen-erator and monoscope camera. The

staff consists of technical engineers.The general admi,nistrati,on de-

partment consists of personnelwhose duties are of a general na-ture and cannot be allocated to anyspecific program or operating de-partment. The same may be saidof expe4ses incurred. Costs of thisdepartment include the salary ofthe general manager and his staff,accounting,. auditing, legal ex-penses, operation of the telephoneswitchboard and the receptionroom.

Video transcri.ption costs in-volved are the cost of raw stockfilm, laboratory processing, printsand payment of royalties for rightsto retelecast. Prints are made,labeled and stocked for rental toother stations.

Operoting Results

The Profit and Loss Statement ismade up weekly, separately for eachof the four types of programs: liveprograms, film programs, remoteprograms and spot announcements.It will be noted that the detail con-stitutes a profit and loss statementfor each program. The sources ofthe information appearing on theprofit and loss statement are as

follows:

Column Source

1 to 5-Station log

6 and 7-Sales record

8 -Col. 6 minus col.7

9 -Pro-rated

from accumu-lation account in op-erating ledger

10 -Col. 8 minus col. 9

11 -Program

cost ledger

72 -Pro-rated

from operatingledger

18 -Col. 11 plus col.12.

L4 -Pro-rated

from operatingledger

75 -Total of cols. 11 to 14, inc.

16 -Col. 10 minus col. 15

Summary of Income and Expenseis an over-all company statementand is also made up weekly. Itserves the purpose of summarizingthe weekly operations of the sta-tion by an analysis of sales andcosts by type of product ratherthan by program.

: PROFIT+ND LOSS STATEMENTHdr@ !,, cdibb

w.el €.d!d---

Y'1

,roGr^M co5r9

loI^rt^!€9 s^[3 @

I

-\- ]^

L 1 9 lo ll u th b

t4 TELEVISER

PARAMOUNT TELEVISION PRODUCTIONS. INC. Hollywood 38, Californio Station KT LA

Week Ended DEPARTMENTAL EXPENDITURES

Department Name— Acct. No. NATURE OF EXPENDITURE Current

Week Cumulative

To Dote

701 SALARIES AND WAGES

702 Overti mo 703 Vocations 704 Sick Leave 705 Paid Absences 706 Experimental 707 Other Salaries

TOTAL SALARIES

711 OPERATING SUPPLIES AND EXPENDITURES Supplies and Operational Expense

712 Experimental 713 Stationery and Office Supplies 715 Telephone and Telagraph 716 Postage 717 Freight. Express and Cartage 719 Water and Gas 720 Light and Power 722 Automotive Transportation * 724 Traveling 725 Entertainment 726 Overtime Meal Allowance 727 Taxes and Licenses 728 Social Security Taxes 729 General Insurance 730 Workman's Compensation Insurance 731 Dues, Fees and Subscriptions 733 Rent of Real Property 735 Inventory Adfustment 736 Legal and Auditing Fees 740 Miscellaneous 741 Sales Commission 742 Advertising — Direct Mail 743 Advertising — Magazine and Newspaper 744 Depreciation 745 Write-offs — Bad Debts

TOTAL OPERATING SUPPLIES

TOTAL EXPENDITURES

and maintains the following- tech- nical equipment: two synchronizing generators, switching console and monitor, sound console and 78 mm lateral and/or vertical double turn- tables. The unit includes the salaries of one audio control engineer, one technical engineer, and a technical director.

The transmitter consists of such equipment as: sound and video transmitter, tower, antenna, gen- erator and monoscope camera. The

staff consists of technical engineers. The general administration de-

partment consists of personnel whose duties are of a general nature and cannot be allocated to any specific program or operating department. The same may be said of expenses incurred. Costs of this department include the salary of the general manager and his staff, accounting, auditing, legal ex- ponses, operation of the telephone switchboard ana the reception room.

Video transcription costs involved are the cost of raw stock film, laboratory processing, prints and payment of royalties for rights to retelecast. Prints are made, labeled and stocked for rental to other stations.

Operating Results

The Profit and Loss Statement is made up weekly, separately for each of the four types of programs: live programs, film programs, remote programs and spot announcements. It will be noted that the detail con- stitutes a profit and loss statement for each program. The sources of the information appearing on the profit and loss statement are as follows:

Column Source

1 to 5—Station log

6 and 7—Sales record

8 —Col. 6 minus col 7

9 —Pro-rated from accumu- lation account in operating ledger

10 —Col. 8 minus col. 9

11 —Program cost ledger

12 —-Pro-rated from operating ledger

13 —Col 11 plus col. 12.

14 —-Pro-rated from operating ledger

15 —Total of cols. 11 to 14, inc.

16 —Col. 10 minus col. 15

Summary of Income and Expense is an over-all company statement and is also made up weekly. It serves the purpose of summarizing the weekly operations of the station by an analysis of sales and costs by type of product rather than by program.

WQFIt-AND LOSS STATEMENT S'a'ion KTLA Weel Ended

TIME NAME OF PROGRAM SPONSOR PiOG PROGRAM) SAIIS PROGRAM COSTS

O O o

TOTAL SALES - LESS v AGENCY DISCOUNT

GROSS -SALES LESS SELLING EXPENSE

NET SALES . DIRECT • COST DEPT. DIRECT COST

TOTAL DIRECT COST OVERHEAD TOTAL COST

1 2 3 > 5 6 « T 8 9 10 11 12 33 1U 15 36

14 TELEVISER


estimated production costs. . ,

ONE-HOUR DRAMA

Ford Theater (K&E produced)-$22,500Krolt Theoter (JWT produced)-915,000

using no storsLucky Strike Theater (Neptune Prods.)-

$25.000 using movie nomes ond propertiesPhilco Playhouse (NBC produced)-922,500

using novels ond storsPrudentiol Theoter (CBS produced)-922,000Pulitzer Prize Ployhouse (Y&R produced)-

$27,s00Studio One (CBS produced)-$I8,500Sure /s Fote (CBS produced)-916,000*lusical Cogedy fime' (NBC-Schubert pro-

duced)-$22500

HALF-HOUR SITUATION COMEDY

Aldrich Fomily (NBC produced, CliffordGoldsmith pockoge)-99,000

Bwns & A_t el (CBS produced, B&A pockcge)re-ported $20,000 with holf proLobly -toB&A

Th9,Q9l_dberys (CBS-Gerrrude Berg prod.)-$9,000

lrloma (Corol lrwin-DBS produced)-$9,fl)0One Mon's Fomilf (NBC-Corlton Morse)-

$9,000Eeuloi (D-F-S produced on film)-gl2,000

HALF.HOUR DRAilA

Armstrong Circle Theoter (NBC prod.)_cp_prox. 910,000

Big. Story (Prockter)-$8,500 no nomes, butlocotion filming

Big Town (CBS)-$9,500The .Cloc.k (NBC)--$7,000 no ncmes, uses

origino ls

Doneer (CBS)-99,500Famous Jury Triols (DuMonr)-$5,000 no

nomes, bosic setFiresid_e _Thedter (Crosby Enterprise), on film

-$7,500 to the sponsorHands of lvlystery (DuMont)-$5,000I Cover Times Sguore (Horold Huber)-$6,000lrlortin Kdne. (Kudner)-$9,500, nov using o"nome" plus GorEonLig.hts Out (NBC)-g7,500, now using I

"nome"Lux Video Theoter (JWT)-$|0,500M17 vs. 9zrne-912,500, with Bellomy plus

"nomes"Somerset Maughom Theater (CBS)-$IO,0OONash Airtlyre lfieofer. (MCA)-gt5,00O using

nome ployers, nome propertiesP I ai ncl othesman (Tronsomericon)-$5,500Eilery Queen (Pincus)-$7,500I nsid e Detective (DuMonr)-95,000Stailight Theoter (CBS)-*912,00O . with

"nome" leods

MARG'H, t95t

Stors Over Hollywood (MCA on film)-$7,500,to sponsor

Suspense (CBS)-$9,000, with nome leodsT he Web (Goodson-Todmon)-910,000Trapped (Horvey Morlove on WOR-TV) uses

no nomes, originol scripts, $10,000

ONE HOUR VARIETY

The Colgote Comedy Hour-tegofteil ot$50,000

Four Stor Rerue, reported ot $45,000Texoco Stor Theoter ot obout $40,000Your Show of Sfiows, opproximotely $40,000The Jock Corter Show-$25,000Arthur Godlrey & Friends-$15,000Ford Star Revue (Jcck Holey)-9|5,000Ken Munay Show-$25,000Don McNeill S[ow-$l8,500Fronk Sinotro 5fiow-$25,000Stop llre rl{usic, (voriety-porticipotion)-

$r 5,000Toast ol tfie fown-$I7,500The Fred W oring Show-$20,000-$22,500Covolcades (8onds & Stors)-(DuMont)-

$r0,000

HALF-HOUR VARIETY

Stor ol the Fomr'ly (Morton Dovney)-$I2,500Tlris ls Show Eusiness-912,500Paul Whitemon Revu+$\2,500Yow Hit Porode--$15,000AIon Young S[ory-915,000College Bowl-$I0,500Gorroway At Lorge-$l 0,000Holiday Hotel-$12,500Horcce Heidt (locotion film)-$15,000Vaughan ilonro+$I2,500Firestone-$10,000Showtime USr'-$I5,000Burns & Allen-$20,000

QUARTER-HOUR MUSICAL

Masland At Home Slrow (Eorl Wrightson)-$2,s00

Little Show (John Conte)-$4,800Supper CIub (Perry Como)-$5,500-olloving

extro money for ComoMoh aw k Show room (Roberto Quin lon)-$7,500

H ALF -HOU R AUDI ENCE P ART ICI P AT ION

Beot t6e Clock-$5,000Elrnd Dote-$5,000Art Linkletter-$7,500Truth ar Conseguences-$12,500Wha{s My Nome (Winchell-Mohoney)-

$10,000You Bet Your Lile (Groucho)-$I0,000

HALF-HOUR PANEL QUIZLeave It. fo tfte Gils-$3,500Whot's My Line-$4,500Who Said lhot-$3,500

T w enty Questi ons-$3,000Lile Besins At 80-$3,000Quiz Kids-$3,500Meet The Press-$3,500Mrs. Roosevelt-$5,500--net ovoiloble price

QUARTER-HOUR NEWS SHOWS

Comel Corovan (NBC)-$8,500-$10,000veekly

C85 News-$1,85G-per % hr. Remote pick-ups odd to costs

QU ART E R- HOU R I NT E RV' EW

The Faye Emercon Show-oppror. $1,850plus film

Evo Gabor-opprox. $1,600Lilli Polmer-opprox. $1,600Eloise Salutes Tie Stors-opprox. $1,600Storft Clu6-$5,000 per week (3 times)

H ALF-HOUR DAYT IME V AR,IETY

Kate Smith Sfiow-quorter hour segments$3,600

Rumpus Room (tohnny Olsen)----opprox. $2,000veekly

Okay Mother (Dennis Jomes)--opprox. $3,500

HALF.HOUR DAYT IME SfRY'CE

Betty Crocker (film)-cpprox. $7,50&-arostother such shows run considerobly less-opprox, $3,000

QU ART E R-HOU R DAY T I ME SERI AL

The First Hundred Yeors--opprox. $11,500weekly

Howkins Folls-opprox. $10,250 weekly

QU ART ER-HOUR CH'IDRFNS SHOW

Space Codet-$5,000 for 5 quorter hoursLucky Pup-$5,000 for 5 quorter hoursCoptain Vtdeo-$5,000 (Yz hr.)Mogic Cottoge-$2,500 for 5 quorter hourcSnall Fry-$3,500 for 5 quorter hoursHowdy Doody-$S,(D for 5 quorter hoursKukla, Fran & Ollr'e--910,(X)0 (Vz hr.)Panhandle Pet+-$4000 for 5 quorter hourc

H ALF.HOUR CHILDRENS SHOW

Gabby Hoyes (dromotic)-$6;500loe DiMoggio (interview, plus DiMog rights)

-$5,000Gene Autry (western film)-$15,000Snilin' Ed l,ldonnell-$4,500Mr. I. lvlogination (dromotic)-$6,000Super Circus (voriety)-$5,000Lone Ronger (western fitm)-$|5,000

This i.nformation is from a spe-cial report on Teleoisi,on ProductionCosts by Wallaie A. Rbss. It isreprinted, with permissio;n of thepublisher.

l5

estimated productmn costs...

ONE-HOUR DRAMA fora Theater fK&E produced --$22 500 Kraft Theater (JWT produced)—$15,000

using no stars Li cny .itnke Theater (Neptune Prods.)—

$25,000 using movie names and properties Phiico Playhouse (NBC produced)—$22,500

using novels and stars Prudential Theater (CBS produced)—$22,000 Pulitzer Prize Playhouse (Y&R produced)—

$27,500 Studio One (CBS produced)—$18,500 Sure As Fate (CBS produced)—$16,000 Musical Comedy Time ' (NBC-Schubert pro-

duced)—$27,500

HALF-HOUR SITUATION COMEDY

Aldrich Family (NBC produced, Clifford Goldsmith package)—$9,000

Burns & Allen (Cuj produced, B&A package) reported $20,000 with half probably to B&A

The Goldbergs .CBS-Gertrude Berg prod.)— $9 000

Mama (Carol Irwin-DBS produced)—$9,000 One Man's Family (NBC-Carlton Morse)—

$9,000 Beulah (D-F-S produced on film)—$12,000

HALF HOUR DRAMA

Armstroi g Circle Theater (NBC prod.)—approx. $10 000

di. Story (Prockter)—$8,500 no names, but location filming

Big Town (CBS)—$9,500 he Clock (NBC1 —$7,000 no names, uses originals

Danger (CBS)—$9,500 Famous Jury Trials (DuMont1—$5,000 no

names, basic set Fireside 1 heater (Crosby Enterprise), on film

—$7 500 to the sponsor Hands of Mystery (DuMont)—$5,000 I Cover Times Square (Harold Huber)—$6,000 Martin Kane (Kudner)—$9,500, now using a

'name" plus Gargan Li its Out (NBC)—$7,500- now using 1

"name" Lux Video Theater (JWT"—$10,500 Man vs. Crime—$12,500, with Bellamy plus

names" Somerset Maugham Theater (CBS)—$10000 Nash Airflyte Theofer (MCA)-$15,000, using

name players, name properties Plainclothesman (Transamerican)—$5,500 Ellery Queen (Pincus)—$7,500 Inside Detective (DuMont,1- $5,000 Starlight Theater (CBS)—$12,000 with

"name" leads

Stars Over Hollywood (MCA on film)—$7,500, to sponsor

Suspense (CBS)—$9,000, with name leads The Web (Goodson-Todman)—$10,000 Trapped (Harvey Marlowe on WOR-TV) uses

no names, original scripts, $10,000

ONE HOUR VARIETY The Colgate Comedy Hour—reported at

$50,000 Four Star Revue, reported at $45,000 Texaco Star Theater at about $40,000 Your Show of Shows, approximarely $40,000 The Jack Carter Show—$25,000 Arthur Godfrey & Friends—$15,000 Ford Star Revue (Jack Haley)- -$15,000 Ken Murray Show—$25,000 Don McNeill Show—$18,500 Frank Sinatra Show—$25,000 Stop The Music, (variety—participation)—

$15,000 Toast of the Town—$17,500 The Fred Waring Show—$20,000-$22,500 Cavalcades (Bands & Stars)—(DuMont)—

$10 000

HALF-HOUR VARIETY Star of the Family (Morton Downey)—$12,500 This Is Show Business—$12,500 Paul Whiteman Revue—$12,500 Your Hit Parade- $15,000 Alan Young Show—$15,000 College Bowl—$10,500 Garroway At Large—$10,000 Holiday Hotel—$12,500 Horace Heidt (location film)—$15,000 Vaughan Monroe—$12,500 Firestone—$10,000 Showtime USA—115,000 Burns & Allen—$20,000

QUARTER-HOUR MUSICAL

Masland At Home Show (Earl Wrightson)— $2,500

Little Show (John Conte)—$4,800 Supper Club (Perry Como)—$5,500 allowing

extra money for Como Mohawk Showroom (Roberta Quinlan)- -$7,500

HALF-HOUR AUDIENCE PARTICIPATION

Beat the Clock—$5,000 Blind Date—$5,000 Art Linkletter—$7,500 Truth or Consequences—$12,500 What's My Name (Winchell-Mahoney)—

$10,000 You Bet Your Life (Groucho)—$10,000

HALF-HOUR PANEL QUIZ Leave It. To the Girls—$3,500 What's My Line—$4,500 Who Said That—$3,500

Twenty Questions—$3,000 Life Begins At 80—$3,000 Quiz Kids—$5,500 Meet The Press—$3,500 Mrs. Roosevelt—$5,500—net available price

QUARTER-HOUR NEWS SHOWS

Camel Caravan (NBC) — $8,500 — $10,000 weekly

CBS News—$1,850—per Vz hr. Remote pick- ups add to costs

QUARTER-HOUR INTERVIEW

The Faye Emerson Show—approx. $1,850 plus film

Eva Gabor—approx. $1,600 Lilli Palmer—approx. $1,600 Eloise Salutes The Stars—approx. $1,600 Stork Club—$5,000 per week (3 times)

HALF-HOUR DAYTIME VARIETY

Kate Smith Show—quarter hour segments $3,600

Rumpus Room (Johnny Olsen)—approx $2,000 weekly

Okay Mother (Dennis James)—approx. $3,500

HALF-HOUR DAYTIME SERVICE Betty Crocker (film)—approx. $7,500—most

other such shows run considerably less— approx. $3,000

QUARTER-HOUR DAYTIME SERIAL The First Hundred Years—approx- $11,500

weekly Hawkins Falls—approx. $10,250 weekly

QUARTER-HOUR CHILDREN'S SHOW Space Cadet—$5,000 for 5 quarter hours Lucky Pup—$5,000 for 5 quarter hours Captain Video—$5,000 iVi hr.) Magic Cottage—$2,500 for 5 quarter hours Small Fry—$3,500 for 5 quarter hours Howdy Doody- $5,000 for 5 quarter hours Kukla, Fran & 01 lie—$10,000 (Vz hr.) Panhandle Pete—$6,000 for 5 quarter hours

HALF-HOUR CHILDREN'S SHOW Gabby Hayes (dramatic)—$6,500 Joe DiMaggio (interview, plus DiMag rights)

—$5,000 Gene Autry (western film)—$15 000 Smilin' Ed McConnell—$4,500 Mr. /. Magination (dramatic)—$6,000 Super Circus (variety)—$5,000 Lone Ranger (western film)—$15,000

This information is from a special report on Television Production Costs by Wallace A. Ross. It is reprinted with permission of the publisher.

March; 1951 15


To See or llot to See

by Joseph Dermer

NIOT long ago a comedian on ar \ netwolk program, after havingbeen warned against using it, wentinto a routine which, while it mayhave been perfectly proper for anight club, was distinctly offensiveto home viewers. As a result, thenetwork let it be known that hewould never again appear on anyof its programs.

A well-known actress appearedon a panel show, dressed in anultra-sophisticated gown which re-vealed enough for a course in anat-omy. Consequently, she remainedoff camera for most of the thirtyminutes of the show. And when shewas in focus, only her face andupper shoulders were shown.

These are two of the more strin-gent ways in which networks at-tempt to maintain the decorum oftheir programs. Despite their besteforts, however, there has been arising chorus of complaints aboutthe good taste, or lack of it. on tele-vision. It has gone so far that acongressman has declared that hewill introduce a bill either author-izing the FCC to control programcontent or empowering a FederalCensorship Board to do so.

Before even considering givingany outside authority the right toblue pencil television, it might bea good idea to see what problems arefaced by the networks and how theyare meeting them. All of the net-works have a code, written or un-written, on what is permissible fortelecasting. The eode is designed toserve as a guide, not as an absoluteauthority. Each case must be judgedon its own merits.

Words

Profane, vulgar and obscene ex-pressions are of course taboo. How-ever, a word like "damn," which is

l5

Networks fqce o difficult probtem in video censorship

generally considered unacceptablemay be used if it appears in aproper context, that is, in a biblicalreference or a literary classic. (Itwould sound a little odd to hearLady MacBeth moaning, "Out,darned, spot.")

In cases where the program isrehearsed, the network continuityacceptance department will pass onthe suitability of the script. How-ever, all the vigilance in the worldoffers no protection against a per-former, especially in a variety pro-gram, forgetting himself and adlibbine lines which might betterhave been left unsaid. Nor is thereany way of being certain that hewon't alter his tone to give an ap-parently innocent line a less thaninnocent meaning.

The network's problems are in-tensified in the case of ad lib pro-g:rams (quiz shows, panels, inter-views, etc.). Although every effortis made to caution the performersagainst using objectionable lan-guage, there are always instancesin which the warning is either ig-nored or forgotten. Many viewers,unfortunately, hold the network re-sponsible for such slips. Actually,the only alternative it has wouldbe to simply eliminate ad lib pro-grams, which would be a ratherextreme solution.

Costumes

Perhaps the most persistentsource of complaints refers to cos-tuming. Except for flagrant of-fenses, the network as yet has nofixed potricy as to what constitutesacceptable attire. Undressing downto one's under clothes, for example,is not considered objectionable initself, if it is required by the plotor if it is necessary to preserve theillusion of reality. However, therehave been abuses. One writer of a

half hour program adjusted his plotto call for disrobing of the mainfemale character in nearly everyweekly sequence. The practiceceased after many protests were re-ceived from the public.'

If the producer has any doubtsas to the propriety of a costume, heis expected to solicit the opinion ofthe continuity acceptance depart-ment. The same ruling applies toprogram content. However, the finalresponsibility for what goes on theair is his. One major network ex-ecutive has stated. "While our con-tinuity acceptance department issupposed to eliminate offensive ma-terial, I shall personally hold theindividuals running the shows re-sponsible for the content of thoseshows."

Although the networks are deter-mined to maintain good taste incostuming, bhe public has not let upin its complaints. Why? There arethree major reasons,

First, standards as to what con-stitutes proper attire differ. Whenis a little cleavage too much cleav-age? A gown that will bring burn-ing protests from one particulargroup in one section of the countrywill be accepted with equanimityby another group in a differentsection.

Secondly, there is a tendency tojudge the entire industry by thelack of decorum of one or two per-formers. No one writes a column onthe restrained dress of, say, LilliPalmer. But how many columns andbad jokes have been written aboutthe neck line of another female tele-vision personality.

Finally, many performers, freshfrom night clubs and other enter-tainment spots, still have to be edu-cated to the restrictions of the TVmedium.

TELEVISER

•lerworks face a drfficult problem in video censorship

To See or Not to See

by Joseph Dermer

NOT long ago a comodian on a network program, after having

been warned against using it, went into a routine which, while it may have been perfectly proper for a night club, was distinctly offensive to home viewers. As a result, the network let it be known that he would never again appear on any of its programs.

A well-known actress appeared on a panel show, dressed in an ultra-sophisticated gown which re- vealed enough for a course in anat- omy. Consequently, she remained off camera for most of the thirty minutes of the show. And when she was in focus, only her face and upper shoulders were shown.

These are two of the more strin- gent ways in which networks at- tempt tc maintain the decorum of their programs. Despite their best efforts, however, there has been a rising chorus of complaints about the good taste, or lack of it, on television. It has gone so far that a congressman has declared that he will introduce a bill either author- izing the FCC to control program content or empowering a Federal Censorship Board to do so.

Before even considering giving any outside authority the right to blue pencil television, it might be a good idea to see what problems are faced by the networks and how they are meeting them. All of the networks have a code, written or un- written, on what is permissible for telecasting. The code is designed to serve as a guide, not as an absolute authority. Each case must be judged on its own merits.

Words

Profane, vulgar and obscene ex- pressions are of course taboo. How- ever, a word like "damn," which is

generally considered unacceptable may be used if it appears in a proper context, that is, in a biblical reference or a literary classic. (It would sound a little odd to hear Lady MacBeth moaning, "Out, darned spot.")

In cases where the program is rehearsed, the network continuity acceptance department will pass on the suitability of the script. How- ever, all the vigilance in the world offers no protection against a performer, especially in a variety program, forgetting himself and ad libbing lines which might better have been left unsaid. Nor is there any way of being certain that he won't alter his tone to give an ap- parently innocent line a less than innocent meaning.

The network's problems are in- tensified in the case of ad lib programs (quiz shows, panels, inter- views, etc.). Although every effort is made to caution the performers against using objectionable language, there are always instances in which the warning is either ig- nored or forgotten. Many viewers, unfortunately, hold the network responsible for such slips. Actually, the only alternative it has would be to simply eliminate ad lib programs, which would be a rather extreme solution.

Costumes Perhaps the most persistent

source of complaints refers to costuming. Except for flagrant of- fenses, the network as yet has no fixed policy as to what constitutes acceptable attire. Undressing down to one's under clothes, for example, is not considered objectionable in itself, if it is required by the plot or if it is necessary to preserve the illusion of reality. However, there have been abuses. One writer of a

half hour program adjusted his plot to call for disrobing of the main female character in nearly every weekly sequence. The practice ceased after many protests were received from the public.".

If the producer has any doubts as to the propriety of a costume, he is expected to solicit the opinion of the continuity acceptance department. The same ruling applies to program content. However, the final responsibility for what goes on the air is his. One major network executive has stated, "While our continuity acceptance department is supposed to eliminate offensive material, I shall personally hold the individuals running the shows responsible for the content of those shows."

Although the networks are deter- mined to maintain good taste in costuming, the public has not let up in its complaints. Why? There are three major reasons.

First, standards as to what con- stitutes proper attire differ. When is a little cleavage too much cleavage? A gown that will bring burn- ing protests from one particular group in one section of the country will be accepted with equanimity by another group in a different section.

Secondly, there is a tendency to judge the entire industry by the lack of decorum of one or two performers. No one writes a column on the restrained dress of, say, LilL Palmer. But how many columns and bad jokes have been written about the neck line of another female television personality.

Finally, many performers, fresh from night clubs and other entertainment spots, still have to be educated to the restrictions of the TV medium.

16 TELEVISER


Minority Groups

Most of the protests concern theuse of questionable material and ofirnproper costuming. However, anumber of complaints have beenreceived about the treatment ac-corded minority groups. Despitethe faet that all of the networkshave a firm policy against dispar-aging any race or religion, therehave been borderline violations.The Negro is sometimes portrayedin the stereotyped Stephen Fetchittradition, the Irishman as the broadbeamed, dim witted cop. This isundoubtedly due to the paucity ofthe writer's imagination ratherthan to any malicious intent. For-tunately, it is a practice which israpidly on the decline, with the con-tinuity acceptance departments be-coming increasingly critical of suchcharacterization.

It is of course true that you can'tsatisfy everybody. By the sametoken, you're almost certain to of-fend someone, no matter what youdo. Dentists rise up in wrath if askit suggests that having a toothpulled isn't one of life's pleasantmoments. The Bar Association isunhappy if a lawyer turns out to bethe villain. The WCTU hurls brick-bats if a character is shown drink-ing something stronger than sarsa-parilla. A plot which deals with adistasteful subject is almost sure toarouse those who disagree with thetreatment or those who don't thinkthe subject should be treated at all.With so many conflicting considera-tions to take into account, it'ssometimes surprising that a TVprogram manag'es to present anyview point.

Would Federal control be any im-provement? It isn't likely. Asidefrom the question of constitution-ality, there doesn't seem to be anyreason to assume that governmentalcensorship would better the qualityof television programs, nor, forthat matter, be more effective thanthe networks. in keeping objec-tional material out of video. Afterall, no network is in the business ofoffending anyone knowingly. Badwill created on the air waves showsup in red on the profit and lossstatement.

MARCH, I95I

by John DeMott

CONTROL OF EFFECTS-We have yet to meet any director that everadequately rehearsed an effect or consulted with the effects man the wayhe should.' There has yet to be any really good efects seen on Television.An effect has got to be'r6hearsed. very carefully, planned in plenty of timeU;itpfg,t!,e show, and the effects'man should be consulted and his talentsused to the fullest extent.

Why directors do not feel that it is necessary to rehearse an efiect isbeyond comprehension. All effects are a simple roll of the dice-they mayor may not work. In motion pictures if an effect is v'rong, you can re-shootit. You can also process a good many effects in a film laboratory. In televi-sion, it's one shot and it has to work!.An effects man lives in sheer frightduring his portion of any television show for fear of ruining his scene orsequence. This is the reason that most networks and stations take a dimview of the special effects men with no real appreciation of his veryspecialize<i talent.

It is obvious that the Garroway show is the only program that shows anyprofessional tendency in its effects department. They are doing a greatjob. Mr. Garroway has surrounded himself with a handful of great talents.

Good effects do not cost a great deal of money u'ith the exception of a

few, and we are sure that those that do cost a lot of money can not be

handled by any studio in any event. But wait until the Hollywood boys hittown and watch your budgets go sky-high! The networks should spend timeand effort in the development and training of good men now.

TITTTES-Another thing that we rvould like to get off our chest concernsthose crummy flip cards that you see on practically every show in television.There are many good companies that have been doing titles of every typeand description as well as opticals and animation. Their techniques shouldbe studied and applied more often.

People are also getting sick and tired of rollerdrum type titles, super-imposed.over one of the scenes or a still picture of the show. In most cases,

they are rolled either too fast or too slow and sometimes sideways. If thestagehand br floor manager happens to bump the equipment, we have seen

them start in the wiong direction, stop, go back and start over again. Bythis time your audience is either dizzy or disgusted and flips his receiverto the wrestling matches.

Surely there must be better ways. Let's not fight the medium-getwith it !

Minority Groups

Most of the protests concern the use of questionable material and of improper costuming. However, a number of complaints have been received about the treatment ac- corded minority yroups. Despite the fact that all of the networks have a firm policy against dispar- aging any race or religion, there have been borderline violations. The Negro is sometimes portrayed in the stereotyped Stephen Fetchit tradition, the Irishman as the broad beamed, dim witted cop. This is undoubtedly due to the paucity of the writer's imagination rather than to any malicious intent. For- tunately, it is a practice which is rapidly on the decline, with the continuity acceptance departments be- coming increasingly critical of such characterization

It is of course true that you can't satisfy everybody. By the same token, you're almost certain to of- fend someone, no matter what you do. Dentists rise up in wrath if a skit suggests that having a tooth pulled isn't one of life's pleasant moments. The Bar Association is unhappy if a lawyer turns out to be the villain. The WCTU hurls brick- bats if a character is shown drink- ing something stronger than sarsa- parilla. A plot which deals with a distasteful subject is almost sure to arouse those who disagree with the treatment or those who don't think the subject should be treated at all. With so many conflicting considera- tions to take into account, it's sometimes surprising that a TV program manages to present any view point.

Would Federal control be any im- provement? It isn't likely. Aside from the question of constitution- ality, there doesn't seem to be any reason to assume that governmental censorship would better the quality of television programs, nor, for that matter, be more effective than the networks in keeping objec- tional material out of video. After all, no network is in the business of offending anyone knowingly. Bad will created on the air waves shows up in red on the profit and loss statement.

by John DeMott

CONTROL OF EFFECTS—We have yet to meet any director that ever adequately rehearsed an effect or consulted with the effects man the way he should. There has yet to be any really good effects seen on Television.

' - ^ ^ .'t An effect has got to be rehearsed, very carefully, planned in plenty of time before the show, and the effects man should be consulted and his talents used to the fullest extent.

Why directors do not feel that it is necessary to rehearse an effect is beyond comprehension. All effects are a simple roll of the dice—they may or may not work. In motion pictures if an effect is wrong, you can re-shoot it. You can also process a good many effects in a film laboratory. In television, it's one shot and it has to work! An effects man lives in sheer fright during his portion of any television show for fear of ruining his scene or sequence. This is the reason that most networks and stations take a dim view of the special effects men with no real appreciation of his very specialized talent.

It is obvious that the Garroway show is the only program that shows any professional tendency in its effects department. They are doing a great job. Mr. Garroway has surrounded himself with a handful of great talents.

Good effects do not cost a great deal of money with the exception of a few, and we are sure that those that do cost a lot of money can not be handled by any studio in any event. But wait until the Hollywood boys hit town and watch your budgets go sky-high! The networks should spend time and effort in the development and training of good men now.

TITLES—Another thing that we would like to get off our chest concerns those crummy flip cards that you see on practically every show in television. There are many good companies that have been doing titles of every type and description as well as opticals and animation. Their techniques should be studied and applied more often.

People are also getting sick and tired of rollerdrum type titles, super- imposed over one of the scenes or a still picture of the show. In most cases, they are rolled either too fast or too slow and sometimes sideways. If the stagehand or floor manager happens to bump the equipment, we have seen them start in the wrong direction, stop, go back and start over again. By this time your audience is either dizzy or disgusted and flips his receiver to the wrestling matches.

Surely there must be better ways. Let's not fight the mediumwith it!

-get

MARCH, 1951 17


Commerciols of the Monthon odvertising directory ol lilm commercials

Animoted Productions, lnc.1600 BroadwayNew York 19, N. Y.COlumbus 5-2942Faciliti,es f or creatiae storyuelapment, Iyri,cs, jingles,actton, animation.

d.e-liae

Peck Advertising wanted to plugthe logo, "Always Reach for Pre-mier Foods." Animated Produc-tions designed six different minutejingles with music by Ray Block,showing Premier Pete reachingfor the product, this time in anoyster!

Premier Foods

Groy-O'Reilly Studios480 Lexington AvenueNew York, N. Y.PLaza 3-1531-2James Gray, Vice-President incharge of sales.Prod,ucers of fi.lm commerci,als, bothanhnntion and, liue; complete f acili-ties for complete proiluction unilerou,e roof .

Entertaining but efrective. Gray-O'Reilly has produced this seriesof twenty beer commercials withthat objective in mind. Agency isthe Joseph Armstrong Co.

Vorious Beers

Crroy-O'Reilly Studios480 Lexington AvenueNew York, N. Y.PLaza 3-1531-2

James Gray, Vice-President incharge of sales.

Producers of film commercials, bothani,mntion and liae; complete facili-ties fw com.plete production nnderone roof.

Here is anothor example of thisseries of 20 and 60-second beerspots. They all combine live ac-tion and animation with a musicalbackground.

Vorious Beers

Sorro, Inc.New York-Chicago-HollywoodSpecialists in Visual Aduertisi,ng

Phoenix Fashion Digest is the titleof a series of sixty-second TV pro-gramettes for the Phoenix HosieryCompany. Produced through Cra-mer-Krasselt Company of Mil-waukee, this live action photog-raphy gives a short preview ofthe coming fashions with accenton lovely hosiery.

t8

Phoenix Hosiery

TELEVISER

Commercials of the Month

an advertising directory of film commercials

imuiiiniiiiiiiiiiiiiiiiTiumiiiiiiiui

Animated Productions, Inc. 1600 Broadway New York 19, N. Y. COlumbus 5-2942 Facilities for creative story development, lyrics, jingles, live action, animation.

fremlci

roo»s

Premier Foods

Peck Advertising wanted to plug the logo, "Always Reach for Pre- mier Foods." Animated Produc- tions designed six different minute jingles with music by Ray Block, showing Premier Pete reaching for the product, this time in an oyster!

HniuimumiiiiiiuiiiimnmiimimniiinmiMmiinuii

Gray-O'Reilly Studios 480 Lexington Avenue New York, N. Y. PLaza 3-1531-2 James Gray, Vice-President in charge of sales. Producers of film commercials, both animation and live; complete facilities for complete production under one roof.

i r-

•■mi

Various Beers

Gray-O'Reilly Studios 480 Lexington Avenue New York, N. Y. PLaza 3-1531-2 James Gray, Vice-President in charge of sales. Producers of film commercials, both animation and live; complete facilities for complete pi oduction under one roof.

Entertaining but effective. Gray- O'Reilly has produced this series of twenty beer commercials with that objective in mind. Agency is the Joseph Armstrong Co.

. Here is another example of this series of 20 and 60-second beer spots. They all combine live action and animation with a musical background.

Various Beers

Sarra, Inc. New York—Chicago—Hollywood

Specialists in Visual Advertising

Phoenix Fashion Digest is the title of a series of sixty-second TV pro- gramettes for the Phoenix Hosiery Company. Produced through Cra- mer-Krasselt Company of Mil- waukee, this live action photography gives a short preview of the coming fashions with accent on lovely hosiery.

Phoenix Hosiery

18 TELEVISER


Snrro, Inc.New York-Chicago-HollywoodSpeci.dists in Visual Ad,aertising

The Goebel Brewing ComPanY ofDetroit opened Cellar 22 and Pre'sented its new Mello-ized Beer.Live-action, stoP motion and ani-mation are used in a series of 20'Second and l-Minute sPots to in'troduce and sell this new brew.Produced for Brooke, Smith'French & Dorrance, Inc'

Goebel Brewing

Seobocrd Studios, .lnc.157 East 69th StreetNew York 21, N. Y.REgent 7-9200

Animnted and liae action TV com-mercials, prograrns and bu,sinessfr,Ims of highest prof essional stand-ards. . . . Larg est independent studioin Neto York.

Cecil & Presbrey, Inc. are buildingan enviable rePutation for hard'hitting, product-selling comrl€r'cials. The new PY-CO-PAY Tooth'brush commercials rank with theirrecent Tintair and Ammident com-mercials for real selling Punch.

Py-Co-Poy Toothbrush

RECEIVER DISTRIBUTION . . .

New York (7)" .--.--.--- ----.

Chicago (4) ........-"..-...-.-.-.Los Angeles (7) ---..-.-------Philadelphia (3) .-.-...-..-.Boston (2) ...-..--.-..-.--..-..---Cleveland (3) .-.--.----------..

Detroit (3) ------------.-..-.----Baltimore (3) --------- -----.--St. Louis (1) -.-..---.-..--.--.--Minn.-St. Paul (2) -----..---Washington (4) ---..--.....-.Cincinnati (3) ---.---.----,-.-Pittsburgh (1) ..---. - .---

Milwaukee (1) ---,.--. --

Buffalo (1)San Francisco (3) ----- -.--Schenectady (1) -.-..-.--..-.-New Haven (1) -.-----..-..-Providence (1) ----------.- -.-

Columbus (3) ---.---.--Dayton (2) - ---.-.- -------.--

2,L45,000840,000835,000789,000674,000423,000419,000273,000254,000238,000234,000229,000222,000213,000182,000159,000140,000137,000130,000129,000114,000106,000

.-105,000

February 1, 1951

Syracuse (2) --......-. .-..-----Kansas City (1)Atlanta (2) . ...............San Diego (1) --------- - .

Lancaster (1) --..-.-....- .----

Louisville (2) -..... . . ..

Toledo (1) -.-....--.-.-.--..-..---Memphis (1) . -- --.- -.--.-Grand Rapids (1) ---.-..---Rochester (1) .-..-....-.-------Oklahoma Citv (1) --

Seattle(1)-- --. -

Johnstown (1) ....-.-.....-.--Houston (1) --,- -

Tulsa (1)Richmond (1) - - --. -

Omaha (2) -.----.-.-------.-.-.-Wilmington (1) -...-.--.-.---Charlotte (1) -.---':----..,-----..Norfolk (1) -.-....-...-...-..----Miami (1) --....--...---.--.---..-Greensboro (1) ---......----.--New Orleans (1) -. - --

Davenport-Rock Island(2) ...___...._..

101,000101,000

91,50081,00080,60078,60078,00075,100

x*73,900

73,40073,40068,20068,10065,20063,80062,90060,70057,80056,60055,70052,50049,80049,500

44,700

Lansing (1) -----.-----.-.------

Erie (1)Birmingham (2) ---------.--

Ames (1)San Antonio (2) .-.-------.-

Salt Lake City (2) ----....-.

Utica (1)Huntington (1) -..-----------

Kalamazoo (1) ---- --------.-.

Binghamton (1)Phoenix (1) --.----.----..-----Nashville (1) ---...--.---------

Jacksonville (1) ---- .-------Bloomington (1) -----.------

Albuquerque (1) ..---------.

Total --------. -- ---------------11,L42,500

-NBC estimates.

x Numbers in parentheses giaenumber of stati,ons in each ci,tg.

*x Set total does not includ.ecred,i,t for sets i,n ail'jacent TV sta-ti.on city.

42,50042,30042,20042,00039,70037,50036,00035,300

**33,400

32,70030,20028,00027,00014,3007,400

Indianapolis (1) --.-----------Dallas (2) IFort Worth (1) f

"' ' "'

MARCH, I95I

iiuiiiiiitiiiniiii inn iiiiihiiiiiiiihi

Sarra, Inc. New York—Chicago—Hollywood Specialists in Visual Advertising

The Goebel Brewing Company of Detroit opened Cellar 22 and presented its new Mello-ized Beer. Live-action, stop motion and animation are used in a series of 20- Second and 1-Minute spots to introduce and sell this new brew. Produced for Brooke, Smith, French & Dorrance, Inc.

Goebel Brewing ummmimiiiiifiiiMiiiiiiioHtHmHiiiiinmiiiiiiiii mioi Hiiiiiiiiiiiiiiiiiimi))

Seaboard Studios, Inc. 157 East 69th Street New York 21, N. Y. REgent 7-9200

Animated and live action TV commercials, programs and business films of highest professional standards. ... Largest independent studio in Neiv York.

*

**

Cecil & Presbrey, Inc. are building an enviable reputation for hard- hitting, product-selling commercials. The new PY-CO-PAY Tooth- brush commercials rank with their recent Tintair and Ammident commercials for real selling punch.


RECEIVER DISTRIBUTION

February 1, 1951

New York (7)* 2,145,000 Chicago (4) 840,000 Los Angeles (7) 835,000 Philadeipnia (3) 789,000 Boston (2) 674,000 Cleveland (3) 423,000 Detroit (3) 419,000 Baltimore (3) 273,000 St. Louis (1) 254,000 Minn.-St. Paul (2) 238,000 Washington (4) 234,000 Cincinnati (3) 228,000 Pittsburgh (1) 222,000 Milwaukee (1) 213,000 Buffalo (1) 182,000 San Francisco (3) 159,000 Schenectady (1) 140,000 New Haven (1) 137,000 Providence (1) 130,000 Columbus (3) 129,000 Dayton (2) 114,000 Indianapolis (1) 106,000 Dallas (2) 1 105,000 Fort Worth (1) J

Syracuse (2) . 101,000 Kansas City (1) . 101,000 Atlanta (2) 91,500 San Diego (1) 81,000 Lancaster (1) 80,600 Louisville (2) 78,600 Toledo (1) 78,000 Memphis (1) 75,100 Grand Rapids (1) . **73,900 Rochester (1) 73,400 Oklahoma City (1) 73,400 Seattle (1) 68,200 Johnstown (1) 68,100 Houston (1) 65,200 Tulsa (1) 63,800 Richmond (1) 62,900 Omaha (2) 60,700 Wilmington (1) 57,800 Charlotte (1) 56,600 Norfolk (1) 55,700 Miami (1) 52,500 Greensboro (1) 49,800 New Orleans (1) 49,500 Davenport-Rock Island

(2) 44,700

Lansing (1) 42,500 Erie (1) 42,300 Birmingham (2) 42,200 Ames (1) 42,000 San Antonio (2) 39,700 Salt Lake City (2) 37,500 Utica (1) 36,000 Huntington (1) 35,300 Kalamazoo (1) **33,400 Binghamton (1) 32,700 Phoenix (1) 30,200 Nashville (1) 28,000 Jacksonville (1) 27,000 Bloomington (1) 14,300 Albuquerque (1) 7,400

Total 11,142,500 —NBC estimates.

* Numbers in parentheses give number of stations in each city.

** Set total does not include credit for sets in adjacent TV station city.

MARCH, 1951 19


I

Moke every minute count when . .

D RIGHT LIGHTS are streaminglJ down from all directions, a bigboom microphone is being swungback and forth. cameramen are dol-lying into position, assistants arekicking cables out of the way, thefloor manager is cueing performers,the actors are emoting, stagehandsare scurrying about with props-then suddenly the director's voiceechos through the TV studio:"Hold it a minute". Everythingstops dead for quite a f etu minutes.Everything, that is, but the clockwhich keeps ticking away vital fa-cilities rehearsal time.

Proceedings have been halted bythe director to correct some detailor situation that has shown itselfon his picture monitor. This scene isre-enacted every day in the studiosof television networks and local sta-tions. Of course such interruptionscan not be completely eliminated. ByHollywood standards TV produc-tions are prepared with amazingspeed and efficiency. Nevertheless,much can be done to further reducethe length and frequency of suchdelays during rehearsal.

Producer Harvey Marlowe hasfound that tirere are two major fac-tors in successfully rehearsing adramatic show with a limited timefor camera facilities. They are:

1) Detailed Pre-planning2) Rehearsing in Continuity

Haraey l\ilarloute, presi,ilent ofHaraey Maylowe Teleuision Associ-ates Inc., is presently produci,ngand directing 37/z hours of pro-grams each ueek on WOR-TV, NeuYork. He was formerly EnecutioeProducer in charge of all TV pro-grams for ABC and Program Man-ager for WPIX, toh.en that Stationbegan operations. He has proilucedshows on NBC, WPTZ, WRGB and,WBKB. He has, in addition, doneradio, theatre and, motion picturework.

20

Rehearsing a

days) and one and a half to twohours of camera rehearsal (whichpermits three full run-throughs).Marlowe actually alternates betweenrehearsals of two 30-minute dramas(Trapped and Mr. & Mrs. Mystery)which he presents every Fridayevening on WOR-TV, New York.

The eight hours of dry rehearsalspread over four days give the ac-tors a chance to study and rehearsetheir lines by themselves and tocontribute fresh ideas and ap-proaches. It also eliminates wastingtoo much time on problems which,when considered the following day,often have solved themselves.

Matlowe's schedule calls for cast-ing on Thursday or Saturday, thena get-together for the first dry re-hearsal on:

Monday - Reading and round-table discussion as to the problemspresented by the script and whatchanges are needed. This takesabout 45 minutes. The rest of thetime is spent on the rough blockingof positions.

Tuesd,ay-Actors must now knowtheir lines. Blocking is worked outand they have one run-through.

W ednesday-Three run-throughsto get feeling of script. Marlowe willstop them during second run-through for corrections but permitsthird rr"rn-through to go on uninter-rupted.

Tltursday-Polishing.F ridaE

-Camera rehearsal.-Now

for the bleuding of the rehearsedportion (the actors) with the un-rehearsed (the studio erew). Thedirector mnst know thoroughlywhat each person is to do so thathe does not add to the eonfusion ofan already cc.nfused operation. Anyexcitement or nervousness in hisvoice, as he gives directions, will bequickly reflected on the work of thecrew and actors. Marlowe believes inworking up the overall productionas a whole rather than polishing offcertain scenes out of context. Agood analogy might be the artistwho works up a complete composi-tion rather than paint one finisheddetail at a time.

Working in continuity, like this,is tremendously important in TVbecause it permits the actors andthe crew to grasp points easier. Italso permits them to logically thinkand move by themselves to some ex-tent. When there is little time thatcan be allotted for detail instruc-tions, this becomes particularly de-sirable.

Television Show

Adequate pre-planning necessi-tates controlling the following fac-tors:

a) Th,e Script. It should containplausible camera shots. The need forexcessive re'rvriting should be eli-minated. During the script confer-ence the director should plan scenesand special effects, if any, with thewriter. The major considerationhere is usually one of compromise.

b. Th.e Cosf. Balance must besought in relationship to age, phy-sical size and experience of the per-formers. .' ,.

c\ Thc Sefs. Sets should beplanned to frt the actions to be per-formed in them and to facilitatecamera movement.

d) DrA Relrcarsal. The interposi-tion of cameras and actors must bekept in mind,at all times as well asthe position of the sets and boommikes. The script is carefullymarked for camera shots the lastday after dr5r r.1t"ut.ul and beforeany camel'a lehearsal.

To rehearse a half-hour drama,Marlowe uses eight hours of dry re-hearsal (two hours a day, four

WORKING in continuity permits thesctors ond the crew to grosp points

eosier.

TELEVISER

Make every minute count when . . .

Rehearsing a

Televis on Show

BRIGHT LIGHTS are streaming down from all directions, a big

boom microphone is being swung back and forth, cameramen are dollying into position, assistants are kicking cables out of the way, the floor manager is cueing performers, the actors are emoting" stagehands are scurrying about with props— then suddenly the director's voice echos through the TV studio; "Hold it a minute". Everything stops dead for quite a few minutes. Everything, that is, but the clock which keeps ticking away vital facilities rehearsal time.

Proceedings have been halted by the director to correct some detail or situation that has shown itself on his picture monitor. This scene is re-enacted every day m the studios of television networks and local stations. Of course such interruptions can not be completely eliminated. By Hollywood standards TV productions are prepared with amazing speed and efficiency. Nevertheless, much can be done to further reduce the length and frequency of such delays during rehearsal.

Producer Harvey Marlowe has found that there are two major factors in successfully rehearsing a dramatic show with a limited time for camera facilities. They are:

1) Detailed Pre-planning 2) Rehearsing in Continuity

Harvey Marlowe, president of Harvey Marlowe Television Associ- ates Inc., is presently producing a,nd directing 3% hours of programs each week on WOR-TV, New York. He was formerly Executive Producer in charge of all TV programs for ABC and Program, Man- ager for WPIX, when that Station began operations. He has produced shows on NBC, WPTZ, WRGB and WBKB. He has, in addition, done radio, theatre and motion picture work.

Adequate pre-planning necessi- tates controlling the following factors:

a) The Script. It should contain plausible camera shots. The need for excessive rewriting should be eliminated. During the script confer- ence the director should plan scenes and special effects, if any, with the writer The major consideration here is usually one of compromise.

b. The Cast. Balance must be sought in relationship to age, phy- sical size and experience of the performers.

ejl The Sets':' Sets shoula be planned to fit the actions to be performed in them and to facilitate camera movement.

d) Dm Rehearsal The interposi- tion of cameras and actors must be kept in mind at all times as well as the position of the sets and boom mikes. The script is carefully marked for camera shots the last day after dry rehearsal and before any camera rehearsal.

To rehearse a half-hour drama, Marlowe uses eight hours of dry rehearsal CltVo hours a day, four

HI .

1 r

WORKING m continuity permits the actors and the crew to grasp points

easier.

days) and one and a half to two hours of camera rehearsal (which permits three full run-throughs). Marlowe actually alternates between rehearsals of two SO-minute dramas ("Trapped and Mr. & Mrs. Mystery) which he presents every Friday evening on WOR-TV, New York.

The eight hours of dry rehearsal spread over four days give the actors a chance to study and rehearse their lines by themselves and to contribute fresh ideas and ap- proaches. It also eliminates wasting too much time on problems which, when considered the following day, often have solved themselves.

Marlowe's schedule calls for casting on Thursday or Saturday, then a get-together for the first dry rehearsal on:

Monday — Reading and round- table discussion as to the problems presented by the script and what changes are needed. This takes about 45 minutes. The rest of the time is spent on the rough blocking of positions.

Tuesday—Actors must now know their lines. Blocking is worked out and they have one run-through.

Wednesdau—Three run-throughs to get feeling of script. Marlowe will stop them during second run- through for corrections but permits third run-through to go on uninter- rupted.

Thursday—Polishing. Friday—Camera rehearsal.—Now

for the blending of the rehearsed portion (the actors) with the un- rehearsed (.the studio crew). The director must know thoroughly what each person is to do so that he does not add to the cunfusion of an already confused operation. Any excitement or nervousness in his voice, as he gives directions, will be quickly reflected on the work of the crew and actors Marlowe believes in working up the overall production as a whole rather than polishing off certain scenes out of context. A good analogy might be the artist who works up a complete composi- tion rather than paint one finished detail at a time.

Working in continuity, like this, is tremendously important in TV because it permits the actors and the crew to grasp points easier. It also permits them to logically think and move by themselves to some extent. When there is little time that can be allotted for detail instructions, this becomes particularly desirable.

20 TELEVISER


Programs Available to $ponsorsInlormotion concerning these progrcms, now being made availoble fo sponsors by the

respective stations, is published os a service to stotions, ogencies ond advertisers. S{otionsdesiring listings should moil the required inlormdtion to TELEVISER bv the twentieth of eachmonth, previous to the month ol publication.

WLW-C, ColumbusShow: "Time for Calling"Description' Jeanne Shea is host-ess-offers shopping hints oneday a week. Has varied musicaltalent and outstanding local guestswho display talents or hobbies. OnFridays is sponsored fashion show.

Days: Monday through FridayTime: L:00 to 1:30 p.m.

Time Cost: Sl50Progrctm Cosf .. Misc. (No talentfees)

WTVN, ColumbusShow: "Dad's Grocery"Description' A 15-minute riot ofhilarious action in the old Cross-roads store reminiscent of thedays of Uncle Ezra. Irascible"Dad" Meachum, in his 60th yearin show business, and his patient,understanding wife, Blanche, en-counter all manner of hilarioussituations. Dad's ambitions runfrom leader of the McCrackenCounty Silver Cornet Band toWrestling promoter. There's audi-ence-appeal plus in this popularweekly stanza.

D'ays: MondayTime: 5:45 to 6:00 p.m.Time Cost: g2t0Progratn Cost: $50 (Commission-able)

WHIO-TV, DaytonShow: "For Men Only"Description: A new idea in day-time television. A show built ex-clusively for men, and aired at12:30 p.m., so that the thousandsof 2nd and 3rd Shift industrialworkers may view it. Show con-tains three segments. 1. Local andsports news. 2. The Workingman

MARCH, I95I

Speaks, interviews with guestsfrom all industries in community,stressing recreation, hobbies, spec-ial interests. 3. Sports quiz. A tele-phone quiz with visual clues. forprizes.

Doys.' Monday through FridayTirne: t2:30 to 1:00 p.m.

Time Cost: 930 per participationProgramCosf ..None

WJBK-TV, DetroitShow: "Ladies Day',Descripti,on: Music, variety andaudience participation program,which plays host each day to oneof Detroit's Womens'Clubs. Showstars disc jockey Bob Murphy, whoemcees variety acts, sings, inter-views celebrities, and conductsgames and stunts with prizes foreveryone participating. A fun-filled, fast moving show designedfor homemakers which captures40% of. Detroit's televsion audi-ence.

Doys.' Monday through FridayTime: 2:45 to 3:30Time Cost: 990 flat per one-min-ute participationProgram Cost..Sold exclusively onparticipation basis. (Commission-able)

WXYZ-TV, I)erroitShow: "Coffee and Cakes"

Description: "Scat" Davis is themaster of ceremonies, who inter-views kids and cajoles the ladies.During the hour the ,,gals,, com-pete for prizes in humorous con-tests, skits and games. A ,,Woman

of the Day" is honored and pre-sented with an orchid. Davis, thetrio and Judy Clare present thetop tunes of the day.

Dogrs.' Monday through Friday

Time: 9:00 to 10.00 a:m: E.S.T.

Program Cost: L/a participation-$75, talent, production, plus ClassB time

WBAP-TV, Fort WorthShow: "Texas Newsreel"

Description: Complete film cover-age of Dallas, Fort Worth, andTexas news by WBAP-TV News-Camera Crews.

Doys.' Wednesday

Time: 6:45 to 6:55 p.m.

Time and Program Cost.. Total

Cost 9125. (Commissionable)

WLAV-TV, Grand RapidsShow: "ReeI Relaxation',

Description: One hour and a ouar-ter feature movie, divided intofour "acts" for participation.

Days: Morrday through FridayTi.me: 7:15 to 2:30 p.m.

Time Cost: $65 per one minuteparticipation

Progrom Cosf .. No talent charge

rElEUtSt0rLaboralory and theoretical instruc.tion undel qle gu-idance of experts,covering all technical phases ofRadio, Frequency Modufttion andTelevision. ?repires for opportuni.ties in Broadtasting, Ess'ential Jn.dustry or Own Busihess.

ToIAL TUrTrol{ t450. [0 ExrRAt.f,lorn., Aft.. or Evc. Snoll Weekly Poynmts.F;ee Plocemont Service. Stote Ii<enied.

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—Programs Available to Sponsors—

Information concerning these programs, now being made available to sponsors by the respective stations, is published as a service to stations, agencies and advertisers. Stations desiring listings should moil the required information to TELEVISER by the twentieth of each month, previous to the month of publication.

WLW-C, Columbus

Show: "Time for Calling"

Description: Jeanne Shea is host- ess—offers shopping hints one day a week. Has varied musical talent and outstanding local guests who display talents or hobbies. On Fridays is sponsored fashion show.

Days: Monday through Friday Time: 1:00 to 1:30 p.m.

Time Cost: $150 Program Cost: Misc. (No talent fees)

WTVN, Columbus Show: "Dad's Grocery"

Description: A 15-minute riot of hilarious action in the old Cross- roads store reminiscent of the days of Uncle Ezra. Irascible "Dad" Meachum, in his 60th year in show business, and his patient, understanding wife, Blanche, encounter all manner of hilarious situations. Dad's ambitions run from leader of the McCracken County Silver Cornet Band to Wrestling promoter. There's audience-appeal plus in this popular weekly stanza.

Days: Monday Time: 5:45 to 6:00 p.m. Time Cost: $210 Program Cost: $50 (Commission- able)

WHIO-TV, Dayton Show: "For Men Only"

Description: A new idea in daytime television. A show built exclusively for men, and aired at 12:30 p.m., so that the thousands of 2nd and 3rd Shift industrial workers may view it. Show contains three segments. 1. Local and sports news. 2 The Workingman

• •

Speaks, interviews with guests from all industries in community, stressing recreation, hobbies, special interests. 3. Sports quiz. A telephone quiz with visual clues, for prizes.

Days: Monday through Friday Time: 12:30 to 1:00 p.m.

Time Cost: $30 per participation

Program Cost; None

' /BK-TV, Detroit

Show: "Ladies Day"

Description: Music, variety and audience participation program, which plays host each day to one of Detroit's Womens' Clubs. Show stars disc jockey Bob Murphy, who emcees variety acts, sings, inter- views celebrities, and conducts games and stunts with prizes for everyone participating. A fun- filled, fast moving show designed for homemakers which captures 40% of Detroit's televsion audience. Days. Monday through Friday Time: 2:45 to 3:30 Time Cost: $90 flat per one-minute participation Program Cost/Sold exclusively on participation basis. (Commission- able)

VTXYZ-Ty, Detroit

Show: "Coffee and Cakes"

Description: "Scat" Davis is the master of ceremonies, who inter- views kids and cajoles the ladies. During the hour the "gals" compete for prizes in humorous con- tests, skits and games. A "Woman of the Day" is honored and presented with an orchid. Davis, the trio and Judy Clare present the top tunes of the day.

Days: Monday through Friday

Time: 9:00 to 10.00 a:m: E.S.T.

Program Cost: % participation— $75, talent, production, plus Class B time

Vr B \P-TV, Fort W orth

Show: "Texas Newsreel"

Description: Complete film coverage of Dallas, Fort Worth, and Texas news by WBAP-TV News- Camera Crews.

Days: Wednesday

Time: 6:45 to 6:55 p.m.

Time and Program Cost: Total

Cost $125. (Commissionable)

WXiY-TV, Grand Rapids

Show: "Reel Relaxation"

Description: One hour and a quarter feature movie, divided into four "acts" for participation.

Days: Monday through Friday

Time: 1:15 to 2:30 p.m.

Time Cost: $65 per one minute participation

Program Cost: No talent charge

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

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

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Pioneers in Television Training Since 1938 480 Lexington Ave., N. Y. 17 (46th St.) PLoia 9-5665 2 blocks from Grand Central

MARCH, 1951 21


ll

EA

TFI-TVNow, during the eorly pcrtof Lent is the time to pre-pore your stotion's . . .

STER FILM

PROGRAMS

ll ro tnis end . .

TELECAST FILMS, Inc.

includes in its new coto-logue q series of De-votionol, Biblicol ondMorol - Teoching films,which ore excellent foryeor round TV showing.

IWrite todoy for this newcotologue of Films forTelevision, lust ofi thePress.

Jn/nroot 7r/rno, -inr.l12 West 48th St., Nev York 19, N.Y.

Gordon W. Hedwig

qso

ECENT issues of "Life," "Newsweek" and "Film Daily" have reportedbriefly on a newly developed apparatus which promises to add tre-

mendous versatility to the TV camera, while at the same time permittingsizeable operating economies to both TV and film producers.

I lefer to Dr. Frank Caldwell's Scenescope. Intrigued by the pub-lished reports--and tantalized by their lack of explanatory material onthe actr,ral rvorkings of the new device-I paid a visit to Dr. Caldwell'slaboratory. My findings should be of great interest to producers of bothlive and film television presentations.

In essence, the Scenescope is an instantaneous optical processingmachine. It provides almost all of the special effects obtained by filmmakers in the optical printer-wipes, double exposures, scene combina-tions, masksd svsss-and it provides them simultaneously with thepick-up of an actnal performance on iconoscope or film.

The mechanism, large (2'x4r/2'x3') and camera shaped, consists of anelaborately controlled arrangement of lens, internal 35mm motion pic-ture fllm projection, internal slide projection, and a series of mirrors,filters and masking devices, all focussed on the final pick-up tube or film.A motion pictrire tube on the equipment showing the combined image, pluscalibrated controls for panning and dollying with leference to the in-ternal projections as well as the actual scene being shot, make possiblethe achievement of difficult effects of every kind.

The TV camera's lens system is removed and the camera is placed onthe Scenescope's pedestal. The image picked up by the Scenescope's lensis fed through flrst the Scenescope equipment and then the TV camera.

In practice, it works like this. A scene may call for actors to performin front of a gleat mosqLle, with clouds gliding behind the minarets andArab hovels in the foreground partly blocking off the performers.

Only the actors need be real. A transpalency within the Scenescope canbe used to furnish the great mosque behind their figures; another slide,pius an opaque mask, can block off their bodies with the image of fore-ground hovels; and motion picture projection-with everything maskedoff except the sky area-can provide the moving clouds overhead.

Further additions-or eliminations-can be effected by the use ofcolor filters, r,vhich cancel out areas lighted with certain colors andpermit pick-up of other areas lighted rvith complementary colors.

Fantasy, in particr-rlar, offers a fertile fleld fol the Scenescope. Aman on a flying carpet is, for example, depicted rvithcut recourse tocords or lvires . . . by simply setting up the background on a slide rvithinthe Scenescope, then lor,vering the background so that the carpet risesgently, convincingly-and magicaily.

It is claimed that this method permits savings up to 910,000 on ahalf-hour production. Elaborate set construction becomes a rare neces-sity; ditto location shooting. Producers of TV commerciais are assuredthat a ferv hundred dollars can now be made to cover a job that wouldformerly have cost thrice that amount.

Oniy drawback seems to be that vely careful :rlt preparatiou andrehearsal ale required. Last-minute changes are tabr"r, and on-the-spotimprovisation impossible.

Chalk up one more long step follv:ird in the career of this amazingmedium-television !

SPOTSo ovER 100

O SPOTS ON

. THE AIR FOR

O AMERICA S

. LARGEST

. ADVERTISERS-

O PRODUCED BY

Gr aY-0n ReillY480 LEXINGTON AVE" NEW YORK

PLAzA 3-1531

22 TELEVISER

TFI-TV

Now, during the early part of Lent is the time to pre- pare your station's . . .

EASTER FILM

PROGRAMS

To this end . .

TELECAST FILMS, Inc.

includes in its new catalogue a series of De- votional, Biblical and Moral - Teaching films, which are excellent for year round TV showing.

Write today for this new catalogue of Films for Television, just off the press.

^Jeiecuit ^3nc. 112 West 48th St., New York 19, N.Y.

Gordon W. Hedwig

SPOTS

• OVER 100

• SPOTS ON

• THE AIR FOR

• AMERICA S

• LARGEST

• advertisers—

• produced by

Gray-O'ReillV

480 LEXINGTON AVE, NEW YORK PLAZA 3-1531

RECENT issues of "Life," "Newsweek" and "Film Daily" have reported briefly on a newly developed apparatus which promises to add tre-

mendous versatility to the TV camera, while at the same time permitting sizeable operating economies to both TV and film producers.

I refer to Dr. Frank Caldwell's Scenescope. Intrigued by the published reports—and tantalized by their lack of explanatory material on the actual workings of the new device—I paid a visit to Dr. Caldwell's laboratory. My findings should be of great interest to producers of both live and film television presentations.

In essence, the Scenescope is an instantaneous optical processing machine. It provides almost all of the special effects obtained by film makers in the optical printer—wipes, double exposures, scene combinations, masked areas—and it provides them simultaneously with the pick-up of an actual performance on iconoscope or film.

The mechanism, large (2'x41/2'x3') and camera shaped, consists of an elaborately controlled arrangement of lens, internal 35mm motion picture film projection, internal slide projection, and a series of mirrors, filters and masking devices, all focussed on the final pick-up tube or film. A motion picture tube on the equipment showing the combined image, plus calibrated controls for panning and dollying with reference to the internal projections as well as the actual scene being shot, make possible the achievement of difficult effects of every kind.

The TV camera's lens system is removed and the camera is placed on the Scenescope's pedestal. The image picked up by the Scenescope's lens is fed through first the Scenescope equipment and then the TV camera.

In practice, it works like this. A scene may call for actors to perform in front of a great mosque, with clouds gliding behind the minarets and Arab hovels in the foreground partly blocking off the performers.

Only the actors need be real. A transparency within the Scenescope can be used to furnish the great mosque behind their figures; another slide, plus an opaque mask, can block off their bodies with the image of foreground hovels; and motion picture projection—with everything masked off except the sky area—can provide the moving clouds overhead.

Further additions—or eliminations—can be effected by the use of color filters, which cancel out areas lighted with certain colors and permit pick-up of other areas lighted with complementary colors.

Fantasy, in particular, offers a fertile field for the Scenescope. A man on a flying carpet is, for example, depicted without recourse to cords or wires ... by simply setting up the background on a slide within the Scenescope, then lowering the background so that the carpet rises gently, convincingly-—and magically.

It is claimed that this method peimits savings up to $10,000 on a half-hour production.jFElaborate set construction becomes a rare necessity; ditto location shooting. Producers of TV commercials are assured that a few hundred dollars can now be made to cover a job that would formerly have cost thrice that amount.

Only drawback seems to be that very careful art preparation and rehearsal are required. Last-minute changes are tabu, and on-the-spot improvisation impossible.

Chalk up one more long step forward in the career of this amazing medium—television!

22 TELEVISER


\\\ffi

5!

$3!red RilninS35 Rtvsrslde!{Er IarB 5?'

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for instance.--

LM PHOTOGRAPHY...atpoint.of -sale, effectively showscustomer's desire for product,

Their TV Film Commerciols from Notionol Screen Service, utilizedthe eye-oppeoling odvontoges of Sfop-l{ofion Animotion, live pho-tography, ond those speciol photogrophic "tricks" ihot ore oursfock-in-trode! All the showmonship ingredients thot secure ondhold the viewer's ottention, impress price ond product on the oudi-ence ond stimulote buying reoclion...fhe soles-provoking essentiolsfhot turn commerciols into CUSTOMERS ond mokes Television poyolf lor you!

More thon 30 yeors of experience in putting Showmonship on filmhos given us the "Know-How"...the extensive focilities...ond theexpert croffsmen to do the fine professionol iob your TV filmcommerciols demond !

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Thc Agency: Nelson Ideas, Inc.

The Producer: National Screen Serviee

STOP.MOTION ANIMATION...Aspirins sliding out of bottle one-by.one in a sure.fire technique

that secures and holils viewer's interest.

TRICK PHOTOGRAPIIY.'.burstsadvertiser's proiluct over scene oftypical community...holds it srrper-

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I

Movies vs. Television TV Casting Director

j|rje Facts of the Med

i i

Alfred Rdaan 835 Rlviraiie Dr. New ¥or5t 32, N. Y.

x;0-52

Bring Your TV Headaches To s!

rv Take St. Joseph Aspirin

for instance:—

The Advertiser: Plough, Inc.

The Agency; Nelson Ideas, Inc. The Producer: National Screen Service

i i

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©STOP-MOTION ANIMATION... Aspirins sliding out of bottle one- by-one in a sure-fire technique

that secures and holds viewer's interest.

Their TV Film Commercials from National Screen Service, utilized

the eye-appealing advantages of Sfop-Mofion Animation, live pho-

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SERVICE Of THeWDUSTRY

1600 BROADWAY . NEW YORK-19-N. Y. . CIRCLE 6-5700


\!1

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\1

Music,s immortals play again, sing again, in RCA Victor',s "Treasury of Immoftal Perfomances"

,4furt ry of llasica /mmorta/sNow artists whose names are musicalIegend live again for the modern lis-tener. You can hear them, at their finest,in RCA Victor's "Treasury of ImmortalPerformances."

In recreating these performances on both33 and 45 rpm, acoustical engineers drewon a vault of master records guarded forposterity by RCA Victor. But new electronictechniques, developed through RCA re-

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Because RCA Victor could draw on so vast a

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***:See the lstest uonders of rudio, teleoision, qnd elec-trcnics at RCAErhibition Hall, 36 West 49th Sr., N' I.Ad.mission is lree. Radio Corporation ol Amefica, RCABuild.ing, Radio Citg, N. Y. 20' N. Y'

The magic of RCA Victor's "45" sys-

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RAD'O CORPORA7'ON 4 Afr'ER'CAWor/d Leader in Radrb - Fr4st ln Te/erisrbn

Music's immortals play again, sing again, in RCA Victor's "Treasury of Immortal Performances"

■ztfih leasury

Now artists whose names are musical legend live again for the modern listener. You can hear them, at their finest, in RCA Victor's "Treasury of Immortal Performances."

In recreating these performances on both 33 and 45 rpm, acoustical engineers drew on a vault of master records guarded for posterity by RCA Victor. But new electronic techniques, developed through RCA research, give the new records a quality far surpassing that of the originals

of Mus/c's /mmorfa/s

Because RCA Victor could draw on so vast a storehouse of the past, there is something in the "Treasury of Immortal Performances" for listeners of every age and taste. Caruso sings light and serious music—as do Schumann- Heink, Mary Garden, and others . . . Pade- rewski is here . . . and, it your taste is for popular music, such greats as Berigan, Arm- strong, \V aller, in rare early records

See the latest wonders of radio, television, and electronics at RCA Exhibition Hall, 36 West 49th St., N. Y. Admission is free. Radio Corporation of America, RCA Building, Radio City, N. Y. 20, N. Y.

isimt

The magic of RCA Victor's "45" system—as an independent unit, or combinid with radio or television receivers—has already led 55 record- makers to adopt it.

JRJiDMO eORPORATMOM of JUifEJBfCJl

IVor/af l^ecrc/er in TZoc/io — F/rsf- in le/ei/ision


April, l95l Vol. 8, No. 4

TcleviserTTIE IOURNAL OF TELEVISION

G (| T T E TT S

MOVIES VS. TELEVISIONBy Gilbert Seldes

THE TELEV'S'ON C,AST'NG D'RECTORBy Williom I. Koulmon

THE FACTS OF THE AAEDIUMMethods of Reseorc/r

Viewing HobitsThe Markets .

ReceiyersThe Network

REVISED CHANNEI AS5'GN'IFNIS .

TV REPORTS ON CR'A,iE

By Robert E. Horris

EFFECTIVISIONSBy John DeMott

E LECT RtC AL V E NT Rt LOQU tSM' By Wolter Covell

FILM FACTSBy lerry Albert

TV STATION REYENUFS TOP $IOO TilLLION .

8

t0tl

t2-t3t4I5

I6

t7

t8

.20

r'iiii:ir!i:ai:::i

ii:

Fi'

2t

22

ROBERT E. I{ARRISManaging Editor

Joseph Dermer .. . . .. , . .Assistant Editor Inge Price ECitoriat AssistantMaurice H. Zouary ,..Art Editor S1'lvia Sklar .-Brsirrrss X,Ienoscr

George Webster . ... ..Ad.uertising Rcfresutatit,c

John A. Bassett and Co..... West Coast ldtertising Repre,sentatioel0l McKinle.v B1dg.,3757 \\rilshire Blvd., Los Angeles, California

Televiser \erv York Offices: 1730 Broadrvar., ){erv York I9 PLaza 7-3723

IRWIN A. SHANEEditor and Publisher

Eutered as second class matter, Oct.13.19,1.t.Re-entered as 2nd class matter. at the postomce at New York, N. Y., under the Act ofVarch 3, 1879. Subscription Rate, i5 Per Year(in the U. S. and teritories, and Canada: 56.00

elserlhere. pa1'able in U. S. Currency). Adver.tising rates upon request. Published monthly,except Jult and August. b1'Television Publica-rrons, 1780 Broadwal', New York 19, N. Y,

.fflffi'rl* 33t';ffi"

'3ff,1 sil$l'Rr

DtffifE J[i[8"

t3i*.1," #i,lEll,

;"i*' T'lE;&'

APRIL, I95I

Entire CoDtenrs Coplrighted,

COMMONWEALTH Currently Serving the

Nation's Leading TV Stations Offers the Following

April, 1951 Vol. 8, No. 4

T ele viser

THE JOURNAL OF TELEVISION

CONTENTS

MOVIES VS TELEVISION By Gilbert Seldes 6

THE TELEVISION CASTING DIRECTOR By William I. Kaufman 8

THE FACTS OF THE MEDIUM Methods of Research . . Viewing Habits The Markets Receivers The Network

REVISED CHANNEL ASSIGNMENTS

. 10 . . II

12-13 . 14

. . 15

16

TV REPORTS ON CRIME By Robert E. Harris /7

EFFECTIVISIONS By John DeMott

ELECTRICAL VENTRILOQUISM By Walter Cove//

FILM FACTS By Jerry Albert

TV STATION REVENUES TOP $100 MILLION

18

20

27

22

IRWIN A. SHANE Editor and Publisher

ROBERT E. HARRIS Managing Editor

Joseph Dermer Assistant Editor Inge Price Editorial Assistant Maurice H. Zouary Art Editor Sylvia Sklar Business Manager

George Webster Advertising Representative

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

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

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Entire Contents Copyrighted, 1951

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APRIL, 1951 3


the two top entertoinment orts

bottle for the some oudience

specifications of broadcasting, andat the same time reach out for theaudience neither Hollywood nortelevision attracts. This would fol-low the pattern set by the theaterafter the movies came to Broadway;the melodrama of the 1890's disap-peared, and the parlor comedy rol-lowed when the movies offered theirown version; some plays were puton in the hope of sale to the movies,but for a generation the theatersurvived by attracting a non-movie-going audience. It was not donewithout bankruptcies and heart-break; but the theater survivedlong enough for new talent to comeinto it. Whether the movies withtheir enormous overhead can affordanything like this purging experi-ence is doubtful; but if they get asubstantial income out of the pic-tures made for television, they mayhave time to reorient themselves.

'lhe movies may, however', taketheir bearings and go off into awilderness of Westerns and musi-cal extravaganzas. In these depart-ments television cannot compete.Networks and sponsors may com-mission short films or cheaply madelonger ones; if they cannot getthem from the major studios, theywill find independents to makethem, or they will go into the busi-ness themselves. But the spectacu-lar film, well made, in color (whichwill not ,be gene+ally available totelevision for several years) is toocostly. It may be a risky thing,but if Hollywood chooses to fiehttelevision, competing for the same

audience, these noisy and infantileproductions are available; and localtheaters may make a deal with in-dependent television stations topipe in sporting events and quizzesso they will have some form of tele-vision to offer. The audiences at-tracted by this combination of theleast significant elements in thetwo media would not tolerate thebest of Hollywood's current prod-uct, and the net result would be afurther lowering of movie stand-ards.

Through the movies, televisionrvill affect the theater and fictionwriting, so the direction Hollywoodtakes has general significance. Al-though pious statements about"better pictures" have been madeand the facts about the dwindlingaudience have finally become a com-monplace in speeches by executives,no decisive change in the Holly-wood atmosphere is visible. No onecan say how long the movies willgo on pretending that televisionnever happened. The halt in TVbuilding operations after the FCCstopped issuing licenses in 1948gave the movies a breathing spell;a shock to the economy at any timein the next few years would helpthem even moie, especially if itcame before the large metropolitanmarkets were well equipped rvithreceivers; but even a slight depres-sion after television has come intocommon use would be fatal to themovie theaters and ultimately tothe studios. The advantage fiveyears from now is even moremarked on the television side. since

iAovies Ys. Televisionby Gilbert Seldes

.fiHE relation between televisionI and the movies may vvork outin several different ways. The es-sential factor is that until now theaudience for television is substan-tially the same as the movie audi-ence. Nothing in the quality of theproduct stands in the way of amerger of interests; and if noagreement is reached, each will bethe mortal enemy of the other.

In Hollywood are huge studios,magnificent equipment, trainedtechnicians, and the most popularof all entertainers; also a backlogof several thousand feature films.Owned by Hollywood, and notnecessarily on the credit side atthis moment, are theater buildingsall over the country. The studioscan use what they have to makepictures for the theaters; or theycan, after some revolutionary ad-justments, make pictures for thetelevision industry and bring intothe theaters both their own picturesand certain types of TV studio pro-.,grams.

Or they can compromise; Theycan act as a manufacturing unit fortelevision, preparing pictures to the

Thi,s article has been ercerptedfrom a chapter in "Tlt,e Great Audi-ence," bE Gilbert Seldes, publish,edbE Viking Press, New York (93.75).Mr. Seldes is also the author of"Th,e Seuen Liaely Arts," "Th,eMooies Come From America," ancl"Mainland," He recently adapted"The Young In Heart" for RobertMontgomery's teleuision series.

,6 TELEVISER

the two top entertainment arts

battle for the same audience

Movies vs. Television

by Gilbert Seldes

THE relation between television and the movies may work out

in several different ways. The essential factor is that until now the audience for television is substantially the same as the movie audience. Nothing in the quality of the product stands in the way of a merger of interests; and if no agreement is reached, each will be the mortal enemy of the other.

In Hollywood are huge studios, magnificent equipment, trained technicians, and the most popular of all entertainers; also a backlog of several thousand feature films. Owned by Hollywood, and not necessarily on the credit side at this moment, are theater buildings all over the country. The studios can use what they have to make pictures for the theaters; or they can, after some revolutionary ad- justments, make pictures for the television industry and bring into the theaters both their own pictures and certain types of TV studio programs.

Or they can compromise. They can act as a manufacturing unit for television, preparing pictures to the

This article has been excerpted from a chapter in "The Great Audi- ence," by Gilbert Seldes, published by Viking Press, New York ($3.75). Mr. Seldes i& also the author of "The Seven Lively Arts," "The Movies Come From America," and "Mainland." He recently adapted "The Young In Heart" for Robert Montgomery's television series.

specifications of broadcasting, and at the same time reach out for the audience neither Hollvwood nor television attracts. This would follow the pattern set by the theater after the movies came to Broadway; the melodrama of the 1890's disap- peared, and the parlor comedy followed when the movies offered their own version; some plays were put on in the hope of sale to the movies, but for a generation the theater survived by attracting a non-movie- going audience. It was not done without bankruptcies and heart- break; but the theater survived long enough for new talent to come into it. Whether the movies with their enormous overhead can afford anything like this purging experience is doubtful; but if they get a substantial income out of the pictures made for television, they may have time to reorient themselves.

The movies may, however, take their bearings and go off into a wilderness of Westerns and musical extravaganzas. In these departments television cannot compete. Networks and sponsors may commission short films or cheaply made longer ones; if they cannot get them from the major studios, they will find independents to make them, or they will go into the business themselves. But the spectacu- lar film, well made, in color (which will not be generally available to television for several years) is too costly. It may be a risky thing, but if Hollywood chooses to fight television, competing for the same

audience, these noisy and infantile productions are available; and local theaters may make a deal with independent television stations to pipe in sporting events and quizzes so they will have some form of television to offer. The audiences at- tracted by this combination of the least significant elements in the two media would not tolerate the best of Hollywood's current product, and the net result would be a further lowering of movie standards.

Through the movies, television will affect the theater and fiction writing, so the direction Hollywood takes has general significance. Al- though piops statements about "better pictures" have been made and the facts about the dwindling audience have finally become a com- monplace in speeches by executives, no decisive change in the Holly- wood atmosphere is visible. No one can say how long the movies will go on pretending that television never happened. The halt in TV building operations after the FCC stopped issuing licenses in 1948 gave the movies a breathing spell; a shock to the economy at any time in the next few years would help them even more, especially if it came before the large metropolitan markets were well equipped with receivers; but even a slight depres- sion after television has come into common use would be fatal to the movie theaters and ultimately to the studios. The advantage five years from now is even more marked on the television side, since

6 TELEVISER


it will have a new selling point toexploit-color; whereas the movieshave nothing but stereoscopic depthto promise, and it isn't enough.

Comporotive Costs

In theory the movies should beable to beat off the invasion. To theaverage man television is some-thing like the movies and some-thing like the radio; whenever tele-vision tries to create the kind ofentertainment familiar in the mov-ies, it subtracts-it loses color andsize and technical perfection andspaciousness of motion pictures; itcan afford to spend on an hour-longdramatization little mole than themovies spend for each minute of a

first -class film (in recent years theaverage cost of A pictures hasranged from fifteen thousand totwenty-five thousand dollars foleach minute of finished film). Onthe other side, whenever televisionuses the materials of radio, it addsthe priceless ingredient of sight.The cost goes up, but the non-dra-matic programs of radio remainrelatively inexpensive when theyare made visible; costly settingsand long rehearsals are broughtdown to a minimum, and the spon-taneous program, the vaudevilleacts perfected for the stage or nightciub, the sport events, can be pro-duced within a reasonable budget.Since television has been developedby radio as its own successor, itmight concentrate on the programsbest suited to its nature, leaving tothe movies the exploitation of fic-tion as well as musical extrava-ganzas and spectacles.

As a formula this is logical; butthe rivalry between the two mediawill not be governed by a plan. Tele-vision will learn, as radio did, horvto tell a story, and the sheer vorac-ity of the medium, using up asmany stories in a month as themovies use in a year, will force thebroadcasters to adapt all kinds offiction and probably to evolve a sys-tem of repeating their productionsso as to cut down the cost. To themovies will be left the costly spec-tacular entertainments \,vhich aredisastrous when they don't pay offand which are entirely useless folthe creation of an audience new tothe movies and not tempted by theaverage fare of television.

APRIL, I95I

Television's Forte

Nine-tenths of what one sees intelevision today is aimed at thedrifting movie audience, it is true.But even within that limitation theextraordinary power of the mediumasserts itself. The programs thathave impressed people (outside ofsports and special events and Hopa-long Cassidy) have again and againbeen triumphs of character. Allthe TV serials based on the radioformula (artificial characters inunbelievable adventures) havefailed, while pure character-comedyhas succeeded, with "The Gold-bergs," the "Mama" series, andtheir several imitators. With noadmiration for the techniques ofMilton Berle, I perceive his attrac-tion, because in his way he prescntsthe unvarnished, the aggressivelybrash truth about one human being,himself, subduing to it all the otherelements of entertainment hisvaudeville should supply; it tooklonger for ii milder, and more in-tricate, personality to arrive, butGarroway illustrates the samegolden lule, that what a person es

counts inordinately. The puppets inKukla, Fran, and Ollie are char-acters, and all the ingenuity of rivalgroups cannot shake the specialhold on the audience of these char-acter'-puppets.

Even the extravagances of thepersonality program, the exploita-tion of handsome women with a lotof friends who "drop in," testifiesto the essential soundness of build-ing programs around what people

are more than around what they do.(I pass without comment a nrrmberof programs which have gone Holly-wood, giving themselves the bendsin an effort to find new txoi.sts;these are personalities, in the gos-

sip-column sense of the word, whosecharacter either does not come overor is unattractive, and the effortsto promote them are deplorable.)Of the dramatic series, particularlyon CBS and NBC. this can be said:they vary from good television tofeeble imitatioris of the movies, butthe best individual programs, thoseapproaching closest to what televi-sion can accomplish, have consist-ently been well received; and, atthe other extreme, those commercialannouncements which have triedmanfully to catch the accent of truecharaeter have also been successful.It is tog early to make final judg-ments about popular taste, but thesignificant minimum of hope re-mains-good television has not beendriven out by bad.

SHOOTING THE BLOCK is one illustrotion of the technicsl perfectionqnd spqciousness obtoinoble by motion pictures. This method is used to getacting shotb thot coyer one or more city blocks without cutting. This sequencewqs shot on o Uniyersol lnternstionol lot for Bill Mouldin's "Up Front."

7

it will have a new selling point to exploit—color; whereas the movies have nothing but stereoscopic depth to promise, and it isn't enough.

Comparative Costs

In theory the movies should be able to beat off the invasion. To the average man television is something like the movies and something like the radio; whenever television tries to create the kind of entertainment familiar in the movies, it subtracts—it loses color and size and technical perfection and spaciousness of motion pictures; it can afford to spend on an hour-long dramatization little more than the movies spend for each minute of a first -class film (in recent years the average cost of A pictures has ranged from fiftsan thousand to twenty-five thousand dollars for each minute of finished film). On the other side, whenever television uses the materials of radio, it adds the priceless ingredient of sight. The cost goes up, but the non-dramatic programs of radio remain relatively inexpensive when they are made visible; costly settings and long rehearsals are brought down to a minimum, and the spon- taneous program, the vaudeville acts perfected for the stage or night ciub, the sport events, can be produced within a reasonable budget. Since television has been developed by radio as its own successor, it might concentrate on the programs best suited to its nature, leaving to the movies the exploitation of fiction as well as musical extravaganzas and spectacles.

As a formula this is logical; but the rivalry between the two media will not be governed by a plan. Tele- vision will learn, as radio did, how to tell a story, and the sheer vorac- ity of the medium, using up as many stories in a month as the movies use in a year, will force the broadcasters to adapt all kinds of fiction and probably to evolve a system of repeating their productions so as to cut down the cost. To themovies will be left the costly spec- tacular entertainments- which are disastrous when they don't pay off and which are entirely useless for the creation of an audience new to the movies and not tempted by the average fare of television.

Television's Forte Nine-tenths of what one sees in

television today is aimed at the drifting movie audience, it is true. But even within that limitation the extraordinary fiower of the medium asserts itself. The programs that have impressed people (outside of sports and special events and Hopa- long Cassidy) have again and again been triumphs of character. All the TV serials based on the radio formula (artificial characters in unbelievable adventures) have failed, while pure character-comedy has succeeded, with "The Gold- bergs," the "Mama" series, and their several imitators. With no admiration for the techniques of Milton Berle, I perceive his attrac- tion, because in his way he presents the unvarnished, the aggressively brash truth about one human being, himself, subduing to it all the other elements of entertainment his vaudeville should supply; it took longer for a mnder, and more in- tricate, personality to arrive, but Garroway illustrates the same golden rule, that what a person is counts inordinately. The puppets in Kukla, Fran, and Ollie are characters, and all the ingenuity of rival groups cannot shake the special hold on the audience of these character-puppets.

Even the extravagances of the personality program, the exploitation of handsome women with a lot of friends who "drop in," testifies to the essential soundness of building programs around what people are more than around what they do. (I pass without comment a number of programs which have gone Holly- wood, giving themselves the bends in an effort to find new twists; these are personalities, in the gos- sip-column sense of the word, whose character either does not come over or is unattractive, and the efforts to promote them are deplorable.) Of the dramatic series, particularly on CBS and NBC, this can be said: they vary from good television to feeble imitations of the movies, but the best individual programs, those approaching closest to what television can accomplish, have consist- ently been well received; and, at the other extreme, those commercial announcements which have tried manfully to catch the accent of true character have also been successful. It is top early to make final judg- ments about popular taste, but the significant minimum of hope remains—good television has not been driven out by bad.

m

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SHOOTING THE BLOCK is one illustration of the technical perfection and spaciousness obtainable by motion pictures. This method is used to get acting shots that cover one or more city blocks without cutting. This sequence was shot on a Universal International lot for Bill Mauldin's "Up Front."

APRIL, 1951 •7


The Television Casting Directorby Williom l. Koufmon

Casting Director of NBC Teleoision

D Y THE nature of his job, theLD Casting Director of a televi-sion network is something of aparadox. With one hand. he scansthe highways and byways of theentertainment world fot the finestavailable talent: with the otherhand he points to budget limita-tions which dictate how much he

' can pay for the'quality of perform-ing ability required for the toP-flight presentation of a plaY. Thenhe flghts to adjust these two oP-posing factors in order that Ameri-can homes may be suPPlied withthe best possible dramatic produc-tions.

As his title suggests, the Cast-ing Director's princiPal assign-ment is to sort out the various aP-plicants for roles and select theperformers with the most desir-able talents. But everlastingly fac-ing him in every move he makes isthat monstrous thing called a bud-get. The drama that reaches thescreen is indeed weak fare com-pared to the force of ,argumentsthat result from excessive produc-tion costs.

The ability of the Casting Di-rector to do a good job dePends

largely on his advance prepara-tions. Many are the responsibili-ties he must discharge before hesets a single person in a Part.

Television casting involves amass of detail work, and time-sav-ing is essential. The Casting Di-rector must develop the abilitY toremember the whereabouts andmovements of all talent. He mustfamiliarize himself with thesources of their emploYment, andkeep in his head a "classified in-dex" which, in a flash, can sort outthe names, types, characters, ac-cents and special abilities of dif-ferent performers. He must alsoacquaint himself with the futureplans of persons (stars in particu-lar) so as to anticipate their avail-ability. For example: HenrY Hullrecently arrived in New York CitYto play in the legitimate theatre.Knolving of Mr. Hull's arrival, aCasting Director arranged to con-tract him for his first televisionappearance, and in so doing suc-ceeded in attracting a larger audi-ence to the program.

The Casting Director is Pressedby the intimacy of television intofinding new faces. This creates the

problems involved in ossembling o tv

cost ore mony ond voried

of oll tolent for

were port of Mr.

MR. KAUFMAN wos educoted ot Bordentown Militory

lnstitute ond Woke Forest College, North Corolino. He

become Assistont Director of Progrom Preporotion ond

Procurement for NBC television. This mesnt thot oll

progrom ideos ond scripts for NBC television were

screened by him, ond thot he bought ond controcted for

new progrsms. The ouditioning, costing, ond buying

NBC produced shows, in cooperotion with Owen Dovis, Jr',

Koufmon's octivities. This required the negotioting of oll

unpleasant task of having to saY

"sorry, nothing todaY" to so manYhopefuls. However, even in theseunhappy moments there are occa-sional gratifying compensations.Recently a TV Casting Directorreceived word that " a talentedyoung girl whom he emPloYed forher first New York job had wonthe ingenue lead in the Chicagocompany of a BroadwaY PlaY. Shehad been seen on the video screenby an agent who lvas able to rec-ommend her for this excellent role,which has become her first majorsuccess in the legitimate theatre.

In conjunction with auditioning,the Casting Director broadens his

acquaintance with Persons and ma-

terials in order to contribute tohis knowledge of Performing art-ists. This involves attendance atlegitimate plays, night club floorsholr's, stage shows, and televisionprograms on his own and othernetworks.

In rounding out his backgroundso that he can better untie televi-sion casting knots, the Casting Di-rector reads all trade publicationsto familiarize himself with thenew developments, Problems, theo-ries, and ideas proPagated bY thegrowth of his field. In his office, to

aid him in his search, he keePs allthe Guides and Lists which make

it a simple matter to reach PeoPlein the shortest Possible time.

Let us follow the Casting Di-rector as he meets the Problems in-volvdd in assembling a cast.

As mentioned before, he endeav-

ors to set the cast as soon as Pos-sible after reading the scriPt so

tolent controcts. He is olso the outhor of "The Best Television Ploys of the

'Yeor" ond co-outhor of "Your Coreer in Television."

8 TELEVISER

problems involved in assembling a tv

cast are many and varied

The Television Casting Director

by William I. Kaufman Casting Director of NBC Television

BY THE nature of his job, the Casting Director of a televi-

sion network is something of a paradox. With one hand he scans the highways and byways of the entertainment world for the finest available talent; with the other hand he points to budget limitations which dictate how much he can pay for the quality of performing ability required for the top- flight presentation of a play. Then he fights to adjust these two op- posing factors in order that Ameri- can homes may be supplied with the best possible dramatic productions.

As his title suggests, the Cast- ing Director's principal assign- ment is to sort out the various ap- plicants for roles and select the performers with the most desirable talents. But everlastingly fac- ing him in every move he makes is that monstrous thing called a budget. The drama that reaches the screen is indeed weak fare compared to the force of arguments that result from excessive production costs.

The ability of the Casting Di- rector to do a good job depends

largely on his advance prepara- tions. Many are the responsibili- ties he must discharge before he sets a single person in a part.

Television casting involves a mass of detail work, and time-sav- ing is essential. The Casting Di- rector must develop the ability to remember the whereabouts and movements of all talent. He must familiarize himself with the sources of their employment, and keep in his head a "classified in- dex" which, in a flash, can sort out the names, types, characters, ac- cents and special abilities of different performers. He must also acquaint himself with the future plans of persons (stars in particular) so as to anticipate their availability. For example: Henry Hull recently arrived in New York City to play in the legitimate theatre. Knowing of Mr. Hull's arrival, a Casting Director arranged to contract him for his first television appearance, and in so doing succeeded in attracting a larger audience to the program.

The Casting Director is pressed by the intimacy of television into finding new faces. This creates the

MR. KAUFMAN was educated at Bordentown Military Institute and Wake Forest College, North Carolina. He

became Assistant Director of Program Preparation and Procurement for NBC television. This meant that all

program ideas and scripts for NBC television were

screened by him, and that he bought and contracted for

new programs. The auditioning, casting, and buying

of all talent for NBC produced shows, in cooperation with Owen Davis, Jr.,

were part of' Mr. Kaufman's activities. This required the negotiating of all

talent contracts. He is also the author of "The Best Television Plays of the Year" and co-author of "Your Career in Television."

unpleasant task of having to say "sorry, nothing today" to so many hopefuls. However, even in these unhappy moments there are occa- sional gratifying compensations. Recently a TV Casting Director received word that a talented young girl whom he employed for her first New York job had won the ingenue lead in the Chicago company of a Broadway play. She had been seen on the video screen by an agent who was able to rec- ommend her for this excellent role, which has become her first maior success in the legitimate theatre.

In conjunction with auditioning, the Casting Director broadens his acquaintance with persons and materials in order to contribute to his knowledge of performing artists. This involves attendance at legitimate plays, night club floor shows, stage shows, and television programs on his own and other networks.

In rounding out his background so that he can better untie television casting knots, the Casting Di- rector reads all trade publications to familiarize himself with the new developments, problems, theo- ries, and ideas propagated by the growth of his field. In his office, to aid him in his search, he keeps all the Guides and Lists which make it a simple matter to reach people in the shortest possible time.

Let us follow the Casting Di- rector as he meets the problems involved in assembling a cast.

As mentioned before, he endeav- ors to set the cast as soon as possible after reading the script so

8 TELEVISER


that director and producer mayproceed to their other productiontasks. The director should have aconcrete idea of the type of personhe desires to play a particularpart. Having read the script, theCasting Director is able to suggestmany talent possibilities to fulflllthese requirements and togetherthey work out the perfect cast.

At this point, one of the biggestobstacles in casting arises, viz.,how to buy the services of high-priced talent and still stay withinthe show's budget. It's rather im-possible to hire a $1,000 actor ona budget which limits the outlayfor the entire cast to $700. TheCasting Director must adhere tothe budget and yet give the televi-sion audience the best.

In seeking top-flight, highly ex-perienced performers who can ac-cept the responsibility of carryingthe major part of a televisionshow, the Casting Director oftenruns up against a certain "non-availability" of talent. This seemsstrange when one considers howmany performers are constantlyseeking opportunities. Neverthe-less, the Casting Director is com-peting with other TV networks,the active legitimate theatre, andthe screen, for top talent. Actorsavailable for secondary and sup-porting roles are plentiful but starmaterial is difficult to procuresince most stars ate generallybusy. In addition, many personswho turn in outstanding jobs onthe stage and screen (where theyhave ample time to memorize theirlines) deliberately pass up an op-portunity to appear on televisionbecause this visual medium de-mands that they learn a greatmany lines in a very short time.

In deciding on fees to be paid tostars, the Casting Director is oftenforced to resort to "toe-to-toe" ne-gotiations with the artists' repre-sentatives, since he is always re-stricted by the limits of his bud-get. Furthermore, it is the dutyof the Casting Director to negoti-ate with the artist, or artist repre-sentative in the matter of billing.He may negotiate to star one per-son, feature the next, and mentionadditional cast memb6rs; he mayco-star. two or three persons; orhe may decide to feature just onestar. There are, of course, alterna-tive combinations of any of these

APRIL, I95I

types of billing. This Problem wasinirequent in the earlY daYs oftelevision. NowadaYs it is becom-ing increasingly important . . . asimportant often as is the questionof payment . . . in the original con-tractual arrangements'

On rare occasions the CastingDirector gets caught in a web be-cause of a language difference.One Casting Director hired nineChinamen for a show. Not untilthey arrived did he tealize that hisnegotiations had to be carried outby an interpreter and sign lan-guage.

Then, too, there are anxious mo-ments when actors are workingsimultaneottsly in television andlegitimate theatre. In such in-stances, the Casting Director mustsee that the station Provides forthe return of the actor to thetheatre before curtain time. Toaccomplish his feat, costumechanges often have to be made enroute, using a closed limousine as

a mobile dressing-room.Television Casting Direetors

offer actors the advantages of em-ployment, billings, and most im-portant, an audience of greaterscope and numbers. For examPle:as of November 1, 1949, "BornYesterday," longest runningBroadway play, had been seen bYan audience of 1,466,400 (assum-ing the show played to capacitYevery .performance). In a singletelecast an actor may be seen bYfour and a half million peoPle. Inone other respect, a TV performerin New York has an oPPortunitYto display his talents to PeoPlewho offer employment in othercities. This gives him a chance tobuild a reputation among personsnot in propinquity to the legiti-mate theater.

And thus we have discoveredthat the Casting Director's Prob-lems permeate three major phasesof endeavor. First, his preparationbefore casting; second, his actualcasting process; and third, hiscontractual negotiations. Eachsituation must be treated calmlYwith a sense of humor and, mostof all, with a firm resolve to ob-tain for the televiewer the verybest in television entertainment.Only with these things in mind, canthe Casting Direetor help bring tothe screen, programs which exhibitartistry, good judgment, and goodtaste.

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By Noll nd Mandl. Complete &ta on allVHF and UHF antennas, including informa-tion on new types given here for the first time.Shows how to select the right type for the site,where and how to install it, how to minimirenoise from ransnission line, and all othettechniques ne€ded to insure getting the moetout of any antenoa systen.

TelevisionforRadiomen

By Noll, Clat, non-mathematical explaoationof the operating principles and function ofevery part and circuit in today's fi receiversand the basio principles of ransmission..Fullinsruction in irotallation, alignment, testing,adiustment, trouble-shooting. $7.00

Radio andTelevisionMathematics

By Fiscber. 721 sample problems and solu-tioro show you what formulc to use, what nu-merical values to substitute, and ech step inworking out any problem you may encounte!in radio, television or industrial elecuonics.Conveniently arranged for quick reference.

$6.00

usF filts couPon

I ber below. If the books in

et su- rI will either remit in full or renrrn I

in 10 days. IIII

r.2.3.41

that director and producer may proceed to their other production tasks. The director should have a concrete idea of the type of person he desires to play a particular part. Having read the script, the Casting Director is able to suggest many talent possibilities to fulfill these requirements and together they work out the perfect cast.

At this point, one of the biggest obstacles in casting arises, viz., how to buy the services of high- priced talent and still stay within the show's budget. It's rather impossible to hire a $1,000 actor on a budget which limits the outlay for the entire cast to $700. The Casting Director must adhere to the budget and yet give the television audience the best.

In seeking top-flight, highly experienced performers who can ac- cept the responsibility of carrying the major part of a television show, the Casting Director often runs up against a certain "non- availability" of talent. This seems strange when one considers how many performers are constantly seeking opportunities. Neverthe- less, the Casting Director is competing with other TV networks, the active legitimate theatre, and the screen, for top talent. Actors available for secondary and sup- porting roles are plentiful but star material is difficult to procure since most stars are generally busy. In addition, many persons who turn in outstanding jobs on the stage and screen (where they have ample time to memorize their lines) deliberately pass up an opportunity to appear on television because this visual medium demands that they learn a great many lines in a very short time.

In deciding on fees to be paid to stars, the Casting Director is often forced to resort to "toe-to-toe" negotiations with the artists' representatives, since he is always re- stricted by the limits of his budget. Furthermore, it is the duty of the Casting Director to negotiate with the artist, or artist representative in the matter of billing. He may negotiate to star one person, feature the next, and mention additional cast members; he may co-star, two or three persons; or he may decide to feature just one star. There are, of course, alternative combinations of any of these

types of billing This problem was infrequent in the early days of television. Nowadays it is becom- ing increasingly important ... as important often as is the question of payment... in the original contractual arrangements.

On rare occasions the Casting Director gets caught in a web because of a language difference. One Casting Director hired nine Chinamen for a show. Not until they arrived did he realize that his negotiations had to be carried out by an interpreter and sign language.

Then, too, there are anxious moments when actors are working simultaneously in television and legitimate theatre. In such instances, the Casting Director must see that the station provides for the return of the actor to the theatre before curtain time. To accomplish his feat, costume changes often have to be made en route, using a closed limousine as a mobile dressing-room.

Television Casting Directors offer actors the advantages of employment, billings, and most important, an audience of greater scope and numbers. For example: as of November 1, 1949, "Born Yesterday," longest running Broadway play, had been seen by an audience of 1,466,400 (assum- ing the show played to capacity every performance). In a single telecast an actor may be seen by four and a half million people. In one other respect, a TV performer in New York has an opportunity to display his talents to people who offer employment in other cities. This gives him a chance to build a reputation among persons not in propinquity to the legitimate theater.

And thus we have discovered that the Casting Director's problems permeate three major phases of endeavor. First, his preparation before casting; second, his actual casting process; and third, his contractual negotiations. Each situation must be treated calmly with a sense of humor and, most of all, with a firm resolve to obtain for the televiewer the very best in television entertainment. Only with these things in mind, can the Casting Director help bring to the screen, programs which exhibit artistry, good judgment, and good taste.

Valuable\ guides for television technicians

Check the ones that con help you

most and see them on approval

Movies

for TV

By Battison. All the information you need to choose the best equipment, operate it effi- ciently and make the most effective use of films on TV. Shows what may go wrong and how to avoid it; how to edit film, produce titles, special effects, commercials, newsreels, combine live scenes with film, and all other techniques. $4.25

2.

Television &

FM Antenna

Guide By Noll and Mandl. Complete data on all VHP and UHF antennas, including information on new types given here for the first time. Shows how to select the right type for the site, where and how to install it, how to minimize noise from transmission line, and all other techniques needed to insure getting the most out of any antenna system. $5.50

Television

for

Radiomen By Noll. Clear, non-mathematical explanation of the operating principles and funaion of every part and circuit in today's TV receivers and the basic principles of transmission. -Full instruction in installation, alignment, testing, adjustment, trouble-shooting. $7.00

4.

Radio and

Televison

Mathema cs By Fischer. 721 sample problems and solu- tions show you what formulas to use, what numerical values to substitute, and each step in working out any problem you may encounter in radio, television or industrial electronics. Conveniently arranged for quick reference.

$6.00

USB THIS COUPON \ The Mocmillon Co.. 60 Fifth Avo., New York 11

Please send me the books checked by number below. I will either remit in full or return the books in 10 days.

2. 3. 4. | Signed

I Address — V

APRIL, 1951 9


television is the first new odvertisi'ng medium to

notionwide reseorch-here ore some tv focts ond

be guided

figures in

from birth

five ports

by sound

f N THE early days of newsPaPerI and magazine advertising, re-search was unknown. Claimed cir-culation was limited onlY bY whatthe publisher or space salesmanthought the prospective advertiserwould believe.

Radio, too, had to navigatethrough its early days without thecompass of adequate research.There were approximately the samenumber of radio families in 1929as there were television families in1950; yet 1929 was the Dark Agesso far as radio research is con-cerned. The amount of money spentin television a,dvertising in 1950was equalled in radio as early as1935. Even by then radio researchwas in a very primitive stage.

Television is more fortunate inthis respect than any other mediumin the history of advertising. Fromits very inception as an advertis-ing medium immediately followingWorld War II. television has hadthe research tools essential to thewise use of the medium and to itshealthy growth. That the availa-bility of such research is appreci-ated and is being taken advantageof, is indicated in our own organiza-tion by the increasing number ofTV clients and by the growth of re-quests for special TV analyses.

Research stands ready to answera wide variety of basic questionsabout television program audiences,questions which have been answer-able with respect to radio for, onlya few years and with respect tosome other media are not answer-able even today. Questions such as:

How many fanilirs aiew my pr<t-granx? This is the most basic of all

t0

questions. And at first glance aneasy one to :lnswer. But this is notthe case. An accurate answer to thequestion requires (1) a techniqueu'hich will obtain accurate informa-tion from the individual home and(2) a sample which is trulY repre-sentative of all U. S. television fam-ilies.

Our own organization uses theAudimeter, an electronic device at-tached to the radio and television re-ceivers in the home, which recordsconstantly and instantly wheneverthe set is turned on and to whatstation. It keeps such a record 24hours a day, seven days a week. TheAudimeter cannot forget. And it isnot subject to the human frailtY ofwanting to impress an interviewerby naming prestige programs'ivhichactually are not viewed.

The Nielsen sample is represen-tative of all U. S. TV families, withrespect to metropolitan-urban-ruralrelationship, economic status, fam-ily size and other factors which de-termine televiewing. As a result,the findings are projectable to totalU. S. TV families and provide anaccurate measLire of the program'stotal audience.

Hoto d,oes nxa progranx comparein popularitA toith other programs?A program may have a relativelysmall numerical audience simplybecause it is broadcast in only afew markets. But if the programis popular enough in the markets inwhich it is aired. the advertiserwould have good reason to expandthe number of stations. For this rea-son Nielsen program ratings reflectonly the areas in which the programis available. As between two pro-

The Facts of the MediumI. METIIOIIS |lF RESEARCH

by PhiliP F.

Director of Publi,c Relations,

FrqnkA. C. Nielsen CompanA

grams, one may have the higher rat-ing, the other the larger nr-rmericalaudience.

Wltat kin'd of fami'Iies tt'iew myprogram? The number of familiesreached is important, but the adver-tiser is also interested in reachingthe kind of families that are his bestprospects. We have detailed infor-mation about the characteristics ofevery family in the samPle. We Pro-vide program audience breakdownby family size, economic status, edu-cation and occupation of the headof the household and other market-ing factors. This is made Possibleby the fact that we know the char-acteristics of every familY in ourrepresentative sample.

How many different fami'lies d,o

I reach, i,n the course of a month?An advertiser d6esn't go on the airfor a single broadcast. And sincethere is a certain audience turnoverweek after week, a program reachesmore families in the course of sev-eral broadcasts than view anY onebroadcast. Many advertisers wantto compare the audiences their TVprogram reaches in the course of amonth with the audience reached bYa monthly magazine. For this theyneed what is known as the monthlYcumulative audience: the total num-ber of different families reachedin the course of a month. Some ad-vertisers prefer a cumulative audi-ence which is considerably abovethe per-broadcast audience; othersmay prefer greater frequency ofviewing by a smaller cumulative au-dience.

To obtain c,umulative audience in-formation it is necessary to have aconstant sample, the kind that Niel-sen uses. For only in this way can

TELEVISER

television is the first new advertising medium to be guided from birth by sound

nationwide research—here are some tv facts and figures in five parts

The Facts of the Medium

1. METHODS OF RESEARCH

by Philip F. Frank

Director of Public Relations, A. C. Nielsen Company

IN THE early days of newspaper and magazine advertising, re-

search was unknown. Claimed cir- culation was limited only by what the publisher or space salesman thought the prospective advertiser would believe.

Radio, too, had to navigate through its early days without the compass of adequate research. There were approximately the same number of radio families in 1929 as there were television families in 1950; yet 1929 was the Dark Ages so far as radio research is con- cerned. The amount of money spent in television advertising in 1950 was equalled in radio as early as 1935. Even by then radio research was in a very primitive stage.

Television is more fortunate in this respect than any other medium in the history of advertising. From its very inception as an advertising medium immediately following World War II, television has had the research tools essential to the wise use of the medium and to its healthy growth. That the availability of such research is appreciated and is being taken advantage of, is indicated in our own organization by the increasing number of TV clients and by the growth of re- quests for special TV analyses.

Research stands ready to answer a wide variety of basic questions about television program audiences, questions which have been answer- able with respect to radio for only a few years and with respect to some other media are not answer- able even today. Questions such as:

How many families view my program? This is the most basic of all

questions. And at first glance an easy one to answer. But this is not the case. An accurate answer to the question requires (1) a technique which will obtain accurate information from the individual home and (2) a sample which is truly representative of all U. S. television families.

Our own organization uses the Audimeter, an electronic device at- tached to the radio and television receivers in the home, which records constantly and instantly whenever the set is turned on and to what station. It keeps such a record 24 hours a day, seven days a week. The Audimeter cannot forget. And it is not subject to the human frailty of wanting to impress an interviewer by naming prestige programs which actually are not viewed.

The Nielsen sample is representative of all U. S. TV families, with respect to metropolitan-urban-rural relationship, economic status, family size and other factors which determine televiewing. As a result, the findings are projectable to total U. S. TV families and provide an accurate measure of the program's total audience.

How does my program compare in popidarity with other programs? A program may have a relatively small numerical audience simply because it is broadcast in only a few markets. But if the program is popular enough in the markets in which it is aired, the advertiser would have good reason to expand the number of stations. For this reason Nielsen program ratings reflect only the areas in which the program is available. As between two pro-

grams, one may have the higher rat- ing, the other the larger numerical audience.

What kind of families view my program? The number of families reached is important, but the advertiser is also interested in reaching the kind of families that are his best prospects. We have detailed information about the characteristics of every family in the sample. We provide program audience breakdown by family size, economic status, edu- cation and occupation of the head of the household and other market- ing factors. This is made possible by the fact that we know the characteristics of every family in our representative sample.

Hoiv many different families do I reach in the cotirse of a month? An advertiser doesn't go on the air for a single broadcast. And since there is a certain audience turnover week after week, a program reaches more families in the course of several broadcasts than view any one broadcast. Many advertisers want to compare the audiences their TV program reaches in the course of a month with the audience reached by a monthly magazine. For this they need what is known as the monthly cumulative audience: the total number of different families reached in the course of a month. Some advertisers prefer a cumulative audience which is considerably above the per-broadcast audience; others may prefer greater frequency of viewing by a smaller cumulative audience.

To obtain cumulative audience information it is necessary to have a constant sample, the kind that Niel- sen uses. For only in this way can

10 TELEVISER


t-

an individual family's televiewinghabits be followed week after weekand month after month.

How many families d.o I reachwi,th my teleoision progranx that Iam not alrc"aily reaching with mErad,io program,? Many TV adver-tisers also use radio. Or they mayuse two or more television pro-grams. Or a television program plusa spot announcement campaign. Inall these instances it is importantto know the duplication of audienceto the several programs or betweenthe program and the spot campaign.Or, to put it another way, the tr,talunduplicated audience to the totalbroadcast effort. An advertiser witha program on the air may have theopportunity to add a second one. Asbetween two available programswith approximately'the same rat-ings, which shall he take? Fre-quently he will prefer the one whichwill get him the greatest number ofnew families, families who do notalready view his present program.

Audience duplication is one of the

kinds of information made possibleby a combination of the Audimetertechnique and a constant sample.Only the Audimeter, which keeps aconstant record of tuning, can de-termine audiences to spot announce-ments as well as programs. Thispermits decisions regarding com-binations of programs and spotcampaigns.

Where shall I place my comnler-cials? A program's audience is notthe same throughout the broadcast.In the case of some programs theaudience rises during the broad-cast, in other cases it may decline orfluctuate. By knowing the changingpattern it is often possible to placethe commercial announcements atthe audience peaks, thereby gainingmore viewers to the commercials.

Nielsen can provide minute-by-minute audience profiles which showthe fluctuating pattern of audiencesize throughout the broadcast.

How well does my program hold,its auciience? The ability of a pro-

gram to hold its viewers once;theyhave tuned in is known as the pro-gram's holding po\Mer. And the hold-ing power of the same prograrn mayvary from one broadcast to the next.

Nielsen analyzes this import6ntfactor so that people engaged in thecreative aspects of television .nro-gramming may know how well theirprograms hold the attention of peo-ple once they have tuned in.

The ability to answer such ques-tions on a national basis now. atthe beginni4g qf televisionfs devel-opment, is making possible the ef-fective and efficient use of TV asan advertising medium. Such re-search is essential to protect adver-tisers' investments in television ad-vertising. And broadcasters too canuse the existence'of this researchin selling the medium, for when thenational advertiser buys televisionhe buys a medium about which thereis a.-wealth of information whichwill help him get the greatest pos-sible value from his TV dollars.

2. Uiewing Habits

Leisure Time-Typicol Doy

What's happening to leisure ti,me in teleaision homes? A studyof the actit;ities of 5,657 persons in a representatiue cross-sectionof urban America made by ail agencg BBDO presents some illu-minating ansu)ers.

Read SundayNewspapers

Read DailyNewspapers

Listen to HomeRadio

Read MagazinesListen to Radio

Away FromHome

View TelevisionIn Home

View TelevisionAway FromHome

Average ListenerHoubewifeMale Head of

Family"Other" Member

APR|L, l95l

Non TV TVHomes Hom.es

e4% e3%

e3% e2%

87% 67%6e% 60%

24% 26%

87%

17% e%

Average ReaderHousewifeMale Head of


Time spent reoding WeeklyMogozines

-41o/o of Totql Somple

Non TV TVHomes HomesL:12 :591:04 :52

1:20 1:041:11 :59

Average ReaderHousewifeMale Head of


Time spent reoding Evening News-popets-78o/o of Totql Somple

NonTV TVHomes Homes

Time spent viewing Television AtHome-23o/o of Totol Somple

Average ViewerHousewifeMale Head of Family"Other" Metnber

Time spent viewing Television AwoyFrom Home-l0o/o of Totol Somple

Non TV TVHomes Homes

Average Viewer 2:03 7;57Houservife 2:73 1:51Male Head of

Family 1:55 L:57"Other" Member 2:01 2:04

Time spent on "Other Activities"NonTV TVHomes Homes

Other Reading (Books, etc.)Per Cent

Reading 32% 23o/o

Daily TimeSpent 1:34 1:17

Attending MoviesPer Cent Attend-ing on TypicalDay 78% L2%

3:243:343:I43:22

:48 :43:47 :40

Time spent listening to Rodio by AtHome fisteners - 82o/o of Totol

Somple

NonTV TVHomes .Homes3:33 2:7A4:29 2:52

2:38 l:233:17 1:51

Time spent reoding SundoyNewspopers

Non TV TVHomes Homes

Some Part l:57 L:46Comics :27 t32Picture Section :28 :30Magazine Section :37 :32Other Sections 1:04 :52

:54 :47243 :43

il

an individual family's televiewing habits be followed week after week and month after month.

How many families do I reach with my television program that I am not already reaching with my radio program? Many TV advertisers also use radio. Or they may use two or more television programs. Or a television program plus a spot announcement campaign. In all these instances it is important to know the duplication of audience to the several programs or between the program and the spot campaign. Or, to put it another way, the total unduplicated audience to the total broadcast effort. An advertiser with a program on the air may have the opportunity to add a second one. As between two available programs with approximately "the same ratings, which shall he take? Fre- quently he will prefer the one which will get him the greatest number of new families, families who do not already view his present program.

Audience duplication is one of the

kinds of information made possible by a combination of the Audimeter technique and a constant sample. Only the Audimeter, which keeps a constant record of tuning, can determine audiences to spot announcements as well as programs. This permits decisions regarding combinations of programs and spot campaigns.

Where shall I place my commercials? A program's audience is not the same throughout the broadcast. In the case of some programs the audience rises during the broadcast, in other cases it may decline or fluctuate. By knowing the changing pattern it is often possible to place the commercial announcements at the audience peaks, thereby gaining more viewers to the commercials.

Nielsen can provide minute-by- minute audience profiles which show the fluctuating pattern of audience size throughout the broadcast.

Hoiv well does my program hold its audience ? The ability of a pro-

ram to hold its viewers once they ave tuned in is known as the pro-

gram's holding power. And the holding power of the same program may vary from one broadcast to the next.

Nielsen analyzes this important factor so that people engaged Hi the creative aspects of television cro- gramming may know how well their programs hold the attention of people once they have tuned in.

The ability to answer such questions on a national basis now, at the beginning of television's development, is making possible the effective and efficient use of TV as an advertising medium. Such research is essential to protect advertisers' investments in television advertising. And broadcasters too can use the existence of this research in selling the medium, for when the national advertiser buys television he buys a medium about which there is a wealth of information which will help him get the greatest possible value from his TV dollars.

2. Viewing Habits

Leisure Time—Typical Day

Non TV TV Homes Homes

Read Sunday Newspapers 94% 93%

Read Daily Newspapers 93% 92%

Listen to Home Radio 87% 67%

Read Magazines 69% 60% Listen to Radio

Away From Home 24% 26%

View Television In Home 87%

View Television Away From Home 11% 9%

Time spent listening to Radio by At Home listeners — 82% of Total

Average Listener Housewife Male Head of

Family "Other" Member

Sample

Non TV Homes 3:33 4:29

2:38 3:17

TV Homes 2:10 2:52

1:23 1:51

What's happening to leisure time in television homes? A study of the activities of 5,657 persons in a representative cross-section of urban America made by ad agency BBDO presents some illu- minating answers.

Time spent reading Weekly Magazines — 41% of Total Sample

Non TV TV

Average Reader Housewife Male Head of


Homes 1:12 1:04

1:20 1:11

Homes ;59 :52

1:04 :59

Time spent reading Evening News- papers—78% of Total Sample

Non TV TV

Average Reader Housewife Male Head of


Homes ;48 :47

:54 :43

Homes ■A3 AO

:47 :43

Time spent reading Sunday Newspapers

Time spent viewing Television At Home—23% of Total Sample

Average Viewer 3:24 Housewife 3:34 Male Head of Family 3:14 "Other" Member 3:22

Time spent viewing Television Away From Home—10% of Total Sample

Average Viewer Housewife Male Head of


Homes Homes Other Reading (Books, etc.)

Per Cent

Non TV TV Homes Homes 2:03 1:57 2:13 1:51

1:55 1:57 2:01 2:04

Other Activities" Non TV TV

Non TV TV Reading 32% 23% Homes Homes Daily Time

Some Part 1:57 1:46 Spent 1:34 1:17 Comics :27 :32 Attending Movies Picture Section :28 :30 Per Cent Attend Magazine Section :37 :32 ing on Typical Other Sections 1:04 :52 Day 18% 12%

APRIL, 1951 11


S 3. Ihe Markets

Area-No. of Stations

Albuquerque (1) ..-..-.

Ames (1) -,-.:-.-,.,

Atlanta (2) ..,.

Baltimore (3) --.

Binghamton (1)

Birmingham (2)

Bloomington (1) .. .. ..

Boston (2)

Buffalo (1) .. .

Charlotte (1).... .

Chicaso (4) .. ..

Cincinnati (3)

Cleveland (3)

Columbus (3)

Dallas (2) L

Ft. Worth (1) J ' "'

Davenport-Rock Isl. (2) --.--. - .

Dayton (2)

Detroit (3) . -. .

Erie (1)

Here is an up-to-date analysis of every television market. based on information obtained from

NBC Research. These tabulations include all counties receiving a standard television signal frof-n

;i;;t J;t""; umriut"a with NBC. rne unilorm standard of signal strength is one-tenth milli'volt which may be visualized as approximately a 60-mile circle'

-{Ill|.|ltsvrtrt7t

Grand Rapids

Greensboro (1

Houston (1)

Huntington (1)

Indianapolis (1)

Jacksonville (1)

Johnstown (1)

Kalamazoo (L)

Kansas City (1)Lancaster (1)

(1)

96,500

285,000

34,400

46,400

15,000

701,000

191,000

61,400

890,000

243,000

454,000

137,000

109,000

49,600

120,000

437,000

44,400

76,900

57,500

69,500

38,000

117,000

28,000

75,100

35,000

108,000

84,600

.82

2.43

.29

.39

.t2

5.96

1.62

.52

7.56

2.06

3.86

1.16

.93

.42

L_02

3.71

.38

.65

.49

.59

.32

1.00

.23

.64

.29

.92

.72

Sets % ot

lnstalled Total

7,900 .07

47,600 .40

Total

Families

36,400

195,200

311,300

461,600

84,100

252,400

49,300

1,084,000

309,400

330,800

1,668,400

432,600

804,800

327,300

369,800

205,100

275,500

907,200

84,800

194,500

162,100

307,500

187,500

390,200

113,800

310,100

153,700

471,900

215,900

Population

133,100 $

642,600

1,129,600

1,637,600

284,800

945,000

169,400

3,890,300

1,102,900

1,376,500

5,645,20i)

1,401,900

2,742,000

1,079,700

L,220,700

661,100

908,400

3,244,100

288,000

655,600

643,700

1,042,300

733,500

L,244,900

402,600

1,194,300

493,300

t,442,700735,OOO

Retail Sales

138,872,000

717,717,000

899,169,000

1,538,570,000

222,138,000

704,606,000

111,952,000

3,270,669,000

924,674,A00

783,210,000

6,034,476,000

1,147,585,000

2,442,624,000

913,981,000

1,352,747,000

596,053,000

715,798,000

3,655,257,000

248,944,000

622,603,000

424,829,000

1,061,6?5,ooo

453,023,000

1,151,926,000

338,648,000

802,174,000

481,659,000

1,639,887,000

626,753,O00

Food Sales

$ 26,220,000 $

139,798,000

167,035,000

394,715,000

54,460,000

135,208,000

28,437,000

947,731,000

231,003,000

158,184,000

1,200,770,000

305,079,000

610,763,000

214,890,000

254,153,000

136,046,000

174,873,000

756,324,000

61,719,000

145,168,000

84,260,000

225,767,000

102,335,000

260,480,000

73,101,000

226,568,000

109,590,000

319,194,000

138,142,000

Drug Sales

4,732,000

18,970,000

27,856,000

44,579,000

4,831,000

17,816,000

3,100,000

89,668,000

22,960,000

21,655,000

179,788,000

31,571,000

64,155,000

22,061,000

48,058,000

14,449,000

19,019,000

122,270,000

4,411,000

20,336,000

12,350,000

32,428,000

11,015,000

46,974,000

12,380,000

16,828,000

16,060,000

72,140,000

14,256,00o

Effective

. Buying Income

$ 188,633,000

911,051,000

1,194,325,000

2,465,694,000

324,617,000

949,973,000

155,650,000

5,180,741,000

1,494,185,000

1,196,972,000

10,143,961,000

1,943,395,000

4,130,493,000

1,341,355,000

1,644,993,000

993,349,000

1,139,574,000

a,i6g,beg,ooo

383,299,000

788,708,000

678,064,000

1,482,380,000

768,261,000

1,778,608,000

453,896,000

1,213,490,000

641,199,000

1,996,344,000

1,O27,583,OOOnen ot K nnal

£ 3. The Markets Here is an up-to-date analysis of every television market based on information obtained from NBC Research. These tabulations include all counties receiving a standard television signal from the 63 stations affiliated with NBC. The uniform standard of signal strength is one-tenth milli- volt which may be visualized as approximately a 60-mile circle.

<

i 70

Sets % of Total

Area—No. of Stations Installed Total Families Population Retail Sales Food Sales Drug Sales

\lbuquerque (1) 7,900 .07 36,400 133,100 ? 138,872,000 i I 26,220,000 f ; 4,732,000

Ames (1) — 47,600 .40 195,200 642,600 717,717,000 139,798,000 18,970,000

Atlanta (2) 96,500 .82 311,300 1,128,600 899,169,000 167,035,000 27,856,000

Baltimrre (3) 285,000 2.43 461,600 1,637,600 1,538,570,000 394,715,000 44,579,000

Binghamton (1) 34,400 .29 84,100 284,800 222,138,000 54,460,000 4,831,000

Birmingham (2) 46,400 .39 252,400 945,000 704,606,000 135,208,000 17,816,000

Bloomington (1) 15,000 .12 49,300 169,400 111,952,000 28,437,000 3,100,000

Boston (2) 701,000 5.96 1,084,000 3,890,300 3,270,669,000 947,731,000 89,668,000

Buffalo (1) 191,000 1.62 309,400 1,102,900 924,674,000 231,003,000 22,960,000

Charlotte (1) 61,400 .52 330,800 1,376,500 783,210,000 158,184,000 21,655,000

Chicago (4) 890,000 7.56 1,668,400 5,645,200 6,034,476,000 1,200,770,000 179,788,000

Cincinnati (3) 243,000 2.06 432,600 1,401,900 1,147,585,000 305,079,000 31,571,000

Cleveland (3) 454,000 3.86 804,800 2,742,000 2,442,624,000 610,763,000 64,155,000

Columbus (3) 137,000 1.16 327,300 1,079,700 913,981,000 214,890,000 22,061,000

Dallas (2) ^ 109,000 .93 369,800 1,220,700 1,352,747,000 254,153,000 48,058,000

Ft. Worth (1) j

Davenport-Rock Isl. (2) 49,600 .42 205,100 661,100 596,053,000 136,046,000 14,449,000

Dayton (2) 120,000 1.02 275,500 908,400 715,798,000 174,873,000 19,019,000

Detroit (3) 437,000 3.71 907,200 3,244,100 3,655,257,000 756,324,000 122,270,000

Erie (1) 44,400 .38 84,800 288,000 248,944,000 61,719,000 4,411,000

Grand Rapids (1) 76,900 .65 194,500 655,600 622,603,000 • 145,168,000 20,336,000

Greensboro (1) 57,500 .49 162,100 643,700 424,829,000 84,260,000 12,350,000

Houston (1) 69,500 .59 307,500 1,042,300 1,061,675,000 225,767,000 32,428,000

Huntington (1) 38,000 .32 187,500 733,500 453,023,000 102,335,000 11,015,000

Indianapolis (1) 117,000 1.00 390,200 1,244,900 1,151,926,000 260,480,000 46,974,000

Jacksonville (1) 28,000 .23 113,800 402,600 338,648,000 73,101,000 12,380,000

Johnstown (1) 75,100 .64 310,100 1,184,300 802,174,000 226,568,000 16,828,000

Kalamazoo (1) 35,000 .29 153,700 493,300 481,659,000 109,590,000 16,060,000

Kansas City (1) 108,000 .92 471,900 1,442,700 1,639,887,000 319,194,000 72,140,000

Lancaster (1) 84,600 .72 215,900 735,000 626,753,000 138,142,000 14,256,000

Effective

Buying Income

188,633,000

911,051,000

1,194,325,000

2,465,694,000

324,617,000

949,973,000

155,650,000

5,180,741,000

1,494,185,000

1,196,972,000

10,143,961.000

1,943,395,000

4,130,493,000

1,341,355,000

1,644,993,000

993,349,000

1,139,574,000

4,769,568,000

383,299,000

788,708,000

678,064,000

1,482,380,000

768,261,000

1,778,608,000

453,896,000

1,213,490,000

641,199,000

1,996,344,000 /vrtrr ICOO rWt/\


!Fr€u!

Lancaster (1)

Lansing (1)

Los Angeles (7) . .

Louisville (2) .

Memphis (1) .....Miami (1) ...-.....

Milwaukee (1)

Minneapolis-St. Paul (2) -...-.....Nashville (1) ...

New Haven (1)

New Orleans (1)

New York (,7)

Norfolk (1)

Oklahoma Citv (1) ..,.... ..

Omaha (2) .....-. .

Philadelphia (4) ....Phoenix (f) . . .

Pittsburgh (1)

Providence (1) . . .. ....

Richmond (1) .......Rochester (1) . ... .. . ..Salt Lake Citv Q)

San Antonio (2) ..

San Francisco (3)

84,600

46,000

877,000

82,900

79,300

55,000

225,000

251,000

24,800

144,000

52,200

215,900

206,900

1,537,800

256,400

269,900

154,600

373,600

452,900

205,700

515,400

257,700

239,000

217,600

1,343,900

89,600

729,200

406,100

133,700

216,700

83,700

157,000

182,100

974,300

322,500

425,400

567,700

205,200

300,100

172,500

724,t00

450,600

135,400

735,000

705,200

4,705,700

869,100

945,100

484,200

1,296,800

1,543,000

744,000

1,810,400

915,500

802,400

718,500

4,743,0C0

316,000

2,700,900

1,404,200

506,000

722,400

298,000

544,700

534,000

2,943,600

1,064,000

L,27L,200

1,936,600

678,500

993,900

588,800

412,600

1,626,500

478,900

138,142,000

].64,428,000

1,359,878,000

155,071,000

128,429,000

109,407,000

381,404,000

355,330,000

L02,425,000

478,422,040

159,795,000

3,406,857,000

724,587,000

124,314,000

165,511,000

1,134,218,000

62,055,000

643,416,000

350,391,000

103,994,000

144,371,000

60,130,000

96,485,000

747,234,000

915,445,000

235,757,000

294,465,000

435,458,000

135,338,000

198,029,000

96,590,000

72,560,000

332,439,000

r70,272,000

-L!,2ypoo22,755,000

166,202,000

22,948,000

20,894,000

26,554,000

41,466,000

25,809,000

23,344,000

111,519,000

10,978,000

62,437,000

32,171,000

15,168,000

14,888,000

9,060,000

13,581,000

14,917,000

83,587,000

21,165,000

34,140,000

56,392,000

13,495,000

20,644,000

17,067,000

5,830,000

55,230,000

10,796,000

1,027,593,000

960,915,000

7,579,957,000

1,060,238,000

945,502,000

635,129,000

2,000,401,000

873,040,000

1,035,382,000

7,047,055,000

358,614,000

3,728,649,000

1,749,989,000

648,336,000

1,005,290,000

433,356,000

654,954,000

608,136,000

4,816,629,000

1,339,970,000

1,976,859,000

2,922,L53,000

809,834,000

t,278,704,000

631,915,000

476,862,000

2,334,741,000

679,111,000

2,240,000 19.06

60,300 .51

:1,887,000 13,431,900

204,200 775,500

626,753,000

732,419,000

5,346,201,000

677,244,Q00

690,756,000

587,164,000

1,534,536,000

1,710,098,000

463,274,000

1,796,996,000

791,538,000

12,499,852,000

548,126,000

642,953,000

767,123,000

4,389,699,000

329,660,000

2,340,80.cr,000

1,208,610,000

491,730,000

615,842,000

307,987,000

462,680,000

515,687,000

3,385,544,000

953,549,000

1,331,146,000

1,923,563,000

571,166,000

838,223,000

453,522,000

297,840,000

1,371,490,00O

392,392,000

.72

.39

7.40

.70

.67

.47

1.91

2.L6

.21

r.22

.44

45,260,000 2,125,013,000

14,311,000 676,063,000

50,081,000 2,700,246,000

31,036,000 1,083,506,000

286,805,000 23,588,845,000

16,412,000 898,892,000

79,500

66,500

814,000

37,400

240,000

139,000

68,800

77,200

39,000

41,500

87"000

168,000

147,000

75,800

268,000

108,000

87,000

65,000

38,500

244,000

59,900

.67

.Dt)

6.92

.32

2.05

1.18

.b6

.66

.33

.35

.t.*

1.43

t.25

.65

2.28

.92

.74

.DO

.33

2.08

.51

t

26,495,700 90,590,900 $84,981,638,000

42,843,800 149,105,500 $128,117,785,000

61.8 . 60.8 66.3

$20,466,518,000 $2,413,658,000 $130,944,64?,000

$30,221,695,000 $3,631,927,000 $191,683,662,000

: 67.7 66.5 68.3

Lancaster (1) ■ - ^

Lansing (1)

Los Angeles (7)

Louisville (2)

Memphis (1)

> Miami (1) •v 2 Milwaukee (1)

Minneapolis-St. Paul (2)

<o Nashville (1) ... ... Ul New Haven (1)

New Orleans (1)

New York (7) .

Norfolk (1)

Oklahoma City (1)

Omaha (2)

Philadelphia (4)

Phoenix (1)

Pittsburgh Cl)

Providence (1)

Richmond (1)

Rochester (1)

Salt Lake City (2)

San Antonio (2)

San Diego (1)

San Francisco (3)

Schenectady (1)

Seattle (1)

St. Louis (1)

Syracuse (2)

Toledo (1)

Tulsa (1)

Utica (1)

Washington (4)

Wilmington (1)

84,600 .72 215,900 46,000 .39 206,900

877,000 7.40 1,537,800

82,900 .70 256,400

79,300 .67 269,900

55,000 .47 154,600

225,000 1.91 373,600

251,000 2.16 452,900

24,800 .21 205,700

144,000 1.22 515,400

52,200 .44 257,700

2,240,000 19.06 3,887,000

60,300 .51 204,200

79,500 .67 239,000

66,500 .56 217,600

814,000 6.92 1,343,900

37,400 .32 89,600

240,000 2.05 729,200

139,000 1.18 406,100

68,800 .58 133,700

77,200 .66 216,700

39,000 .33 83,700

41,500 .35 157,000

87,000 .74 182,100

168,000 1.43 974,300

147,000 1.25 322,500

75,800 .65 425,400

268,000 2.28 567,700

108,000 .92 205,200

87,000 .74 300,100

65,000 .55 172,500

38,500 .33 124,100

244,000 2.08 450,600

59,900 .51 135,400

Total.

U. S. A. Total.

% of U. S. A.,

11,748,400 26,435,700

42,843,800

61.8

735,000 626,753,000 138,142,000 14,256,000 1,027,583,000

705,200 732,419,000 164,428,000 22,755,000 960,915,000

4,705,700 5,346,201,000 1,359,878,000 166,202,000 7,579,957,000

869,100 677,244,000 155,071,000 22,948,000 1,060,238,000

945,100 690,756,000 128,429,000 20,894,000 945,502,000

484,200 587,164,000 109,407,000 26,554,000 635,129,000

1,296,800 1,534,536,000 381,404,000 41,466,000 2,000,401,000

1,543,000 1,710,098,000 355,330,000 45,260,000 2,125,013,000

744,000 463,274,000 102,425,000 14,311,000 676,063,000

1,810,400 1,796,996,000 478,422,000 50,081,000 2,700,246,000

915,500 791,538,000 159,795,000 31,036,000 1,083,506,000

13,431,900 12,499,852,000 3,406,857,000 286,805,000 23,588,845,000

775,500 548,126,000 124,587,000 16,412,000 898,892,000

802,400 642,953,000 124,314,000 25,809,000 873,040,000

718,500 767,123,000 165,511,000 23,344,000 1,035,382,000

4,743,000 4,389,699,000 1,134,218,000 111,519,000 7,047,055,000

316,000 329,660,000 62,055,000 10,978,000 358,614,000

2,700,900 2,340,809,000 643,416,000 62,437,000 3,728,649,000

1,404,200 1,208,610,000 350,391,000 32,171,000 1,749,989,000

506,000 481,730,000 103,994,000 15,168,000 648,336,000

722,400 615,842,000 144,371,000 14,888,000 1,005,290,000

298,000 307,987,000 60,130,000 9,060,000 433,356,000

544,700 462,680,000 96,485,000 13,581,000 654,954,000

534,000 515,687,000 147,234,000 14,917,000 608,136,000

2,943,600 3,385,544,000 915,445,000 83,587,000 4,816,629,000

1,064,000 953,549,000 235,757,000 21,165,000 1,339,970,000

1,271,200 1,331,146,000 294,465,000 34,140,000 1,976,859,000

1,936,600 1,923,563,000 435,458,000 56,392,000 2,822,153,000

678,500 571,166,000 135,338,000 13,495,000 809,834,000

993,900 838,223,000 198,029,000 20,644,000 1,278,704,000

588,800 453,522,000 , 96,590,000 17,067,000 631,915,000

412,600 297,840,000 72,560,000 5,830,000 476,862,000

1,626,500 1,371,490,000 332,439,000 55,230,000 2,334,741,000

478,900 392,392,000 110,272,000 10,796,000 679,111,000

90,590,900 $ 84,981,638,000 $20,466,518,000 $2,413,658,000 $130,944,647,000

149,105,500 $128,117,785,000 $30,221,695,000 $3,631,927,000 $191,683,662,000

60.8 66.3 67.7 66.5 68.3


4. Receivers

lf You Do Not Own o Television Set:

Haue Eou sep,n d Teleoision set inoperation?

Quite a number of times .-.---

Several times ........ .. ..

Only once or twiceNeverNo Answer

TotalBase

Have heard abcut it, (Radio,read, seen lrictures, Con-sumers Union, experts) .".- 1.5

Member of family, friend inbusiness

Has good tone --..-. . .

Like style of cabinet ._

Like style, appearance,beauty .9

Like quality -,,.-.---.Better service-General __....__

To match radio & phono-graph, furniture

Best suited for areaHas built-in acrial

r.41.1 What size iti,ettt.re screen would,

.g 1161t pref er ?

16, --...

.'t19.050.918.9

1.311.5

102.3

1080

19,

The inf ormation f or this sur'uey was obtained. f rom 1880 questionnaireso,nswered by tlte "Gcod, Houselteeping Cottgumer panel" which" consi,sts olsubscribers to the magazi.ne who h,aue agreed. to act as aoluntat.a con-sultants. som.e questions perm.itted more than one an.s1oer, therefore,som,e colu.mns ad,d to more than 100.0%.

wholesale -... 2.1 Like screen

33.229.823.272.6t.2

100.0

1519

40.1

74.729.3

4.4

148.51309

set do

13.1

6.9

4.73.62.82.82.82.72.01.5

1.5

1.0

3.1

40.019.1

3.1

2.2

11.68.84.71.9

4.44.L

9.9

9.7t4.L2.2

100.0

363

10"t2'

All othersNo Answer ...

Total ,,,-,.-. . ....Base _.,.... .-

Don't knowNo Answer ,,,

Total .....

Base

7947

11.1

.42.2

61.9

... .104.9. .. . 1080

Where haae 1tot.r, seen it in opera-ti,on?

A public place -...-......Someone's home ...

A storeOthers

Total .---.-.

Base

What brand. of teleuisionyou think gon zuill buy?

RCA Victor ..

AdmiralPhilcoGeneral ElectricZenithMagnavoxMotorolaDumontStromberg-CarlsonHoffmanWestinghouseCapehartAll othersDon't know, No preference --

No Answer

lf You Own A Television Set:

When did yotr, buy your f.rst Teleaision Set?

.8

.8

.8

.6

.5

Total 1950 1949 1948

L0.2 22.6 3.7 7.7

8.5 16.1 6.1 7.79.9 21.8 3.7 5.2

18.5 10.4\2.I 7.4

6.5 3.72.58.0

6.716.6

.8 14.1

.8 15.9

.8 L.2

100.0 100.0724 163

100.0 34.2 44.9

Year Not1946 Stated

14.2JanuaryFebruaryMarchApril --,

Mav ---.,.-.--.

JuneJuly -.-------,-

AugustSeptemberOctoberNovemberDecemberNo Answer

Total ---.-.-.-,

Base

Percentage of thetotal purchased eachyear

Is gour set:

Portable --.---..

A Table modelA large FloorA Consolette

with legs)No Answer ,-.

Total ,.,....

Base

t.7 11.1

6.9 50.03.4 11.1

22.3 50.05.2

6.9

L2.2 22.215.5 28.636.2 11.1 28.63.4' 11.1 28.6

100.0 100.0 100.0 100.058927

16.0 2.5 .5 t.9

Total ..------- -- 107.6Base --------- 1080

WhA would, Aou choose thisbrand?

Clear picture, good reception 8.6Had satisfactory experience

with other products of themanufacturer -------------.--.----- .5.8

Seen in operation & liked it -- 5.6

Recommended by family,friends -...--...--.-... .... 3.7

Well known, reliable manu-facturer

Best I've seen, like them ...-..Reasonable price, discount,

l4

I.740.5

Model console 40.7

ismall console16.0

1.1

100.0363

Origi,nallg, uho was i,t in Eourfamity that most wanteil a teleai-si,on set?

Man -----.-....Womanchild . .

AII wanted it .

No Answer

Total ...Base

62.016.030.9

6.11.1

116.1363

TELEVISER

4. Receivers

If You Do Not Own a Television Set: Have you seen a Television set in

operation?

Quite a number of times 33.2 Several times 29.8 Only once or twice 23.2 Never 12.6 No Answer 1.2

Total 100.0 Base . ... 1519

Where have you seen it in operation ? A public place .-. 40.1 Someone's home 74.7 A store 29.3 Others t. 4.4

Total 148.5 Base 1309

What brand of television set do you think you ivill buy? RCA Victor . 13.1 Admiral 6.9 Philco 4.7 General Electric 3.6 Zenith 2.8 Magnavox 2.8 Motorola 2.8 Dumont 2.7 Stromberg-Carlson 2.0 Hoffman 1.5 Westinghouse 1.5 Capehart 1.0 All others 3.1 Don't know, No preference .. 40.0 No Answer 19.1


Why would you choose this brand? Clear picture, good reception 8.6 Had satisfactory experience

with other products of the manufacturer 5.8

Seen in operation & liked it .. 5.6 Recommended by family,

friends 3.7 Well known, reliable manu-

facturer 3.1 Best I've seen, like them ..... 2.2 Reasonable price, discount,

The information for this survey ivas obtained from. 1880 questionnaires answered by the "Good, Housekeeping Consumer Panel" ivhich consists of subscribers to the magazine ivho have agreed to act as voluntary con- sultants. Some questions permitted more than one answer, therefore, some columns add to more than 100.0%.

wholesale 2.1 Have heard about it, (Radio,

read, seen pictures, Con- sumers Union, experts) .... 1.5

Member of family, friend in business 1.4

Has good tone 1.1 Like style of cabinet .9 Like style, appearance,

beauty .9 Like quality 8 Better service—General 8 To match radio & phono-

graph, furniture 8 Best suited for area .6 Has built-in aerial .5

Like screen .4 All others 2.2 No Answer ..... .... 61.9


What size picture screen would you prefer?

10" .•/ 12" . 19.0 16" . 50.9 19" 18.9 Don't know 1.3 No Answer .. 11.5


If You Own A Television Set:

When did you buy your first Television Set?

February March April May June July .... August September . October . .... ... November December .. . . No Answer

Total 100.0 Base

Percentage of the total purchased each year

Year Not Total 1950 1949 1948 1947 1946 Stated

10.2 22.6 3.7 1.7 11.1 14.2 8.5 16.1 6.1 1.7 9.9 21.8 3.7 5.2

11.6 18.5 10.4 1.7 11.1 8.8 12.1 7.4 6.9 50.0 4.7 6.5 3.7 3.4 11.1 1.9 2.5 22.3 50.0 4.4 8.0 5.2 ...... 4.1 6.7 6.9 9.9 16.6 12.2 22.2 9.7 .8 14.1 15.5 28.6

14.1 .8 15.9 36.2 11.1 28.6 2.2 .8 1.2 3.4 11.1 28.6

100.0 100.0 100.0 100.0 100.0 100.0 100.0 363 124 163 58 9 2 7

100.0 34.2 44.9 16.0 2.5 .5 1.9

Is your set:

Portable 1.7 A Table model . 40.5 A large Floor Model console 40.7 A Consolette (small console

with legs) 16.0 No Answer 1.1

Total 100.0 Base ! 363

Originally, ivho was it in your family that most wanted a television set?

Man 62.0 Woman 16.0 Child 30.9 All wanted it .. ... 6.1 No Answer . 1.1

Total ..... 116.1 Base . .... 363

14 TELEVISER


5. The lletwork

List of Intdrconnected and Non-I n,ter c onne e t e d C ommtnit ie s.

ONE-STATION COMMUNITIES29 Interconnected

ConnecticutNew Haaen

WNHC-TV (A,C,D,N,P)

DelawareWilmington

WDEL-TV (D,N)

FloridaJacksonaille

WMRR-TV (A,C,D,N)

IndianaBIoom ington

WTTV (A,C,D,N,)Indianapolis

WFBM.TV (A,C,D,N)

IowaAmes

woI-TV (A,C,D,N)

llichiganGrand Rapid,s

WLAV-TV (A,C,D,N)Kalamazoo

WKZO (A,C,D,N)Lansing

WJIM-TV (A,C,D,N)

MissouriKansas CitE

WDAF-TV (A,C,D,N)St. Loui.s

KSD-TV (A,C,D,N,P)

New YorkBuffalo

WBEN-TVRochester

WHAM-TVSchenectadE

(A,C,n,N)

(A,C,D,N)

WRGB (C,D,N)Utica

WKTV (A,C,N)

North CarolinaCltarlotte

WBTV (A,C,D,N)Greensboro

WFMY-TV (A,C,D,N)

OhioToledo

WSPD-TV (A,C,D,N,P)

PennsylvaniaErie

wlcu (c,D,N)Johnstown

WJAC-TV (A,C,D,N)

LoncasterWGAL-TV (A,C,D,N,P)

PittsburghWDTV (A,C,D,N)

Texas

Ft. WorthWBAP-TV (A,N)

HoustonKPRC (A,C,D,N,P)

Rhode IslandProoidence

WJAR-TV (C,N,P)

Tennessee

MempldsWMCT (A,C,D,N)

YirginiaNorf olk

WTAR-TV (A,C,N,P)Richmond

WTVR (C,D,N,P)

W. VirginiaHunti,ngton

WSAZ-TV (A,C,D,N)

WisconsinMilwaukee

WTMJ-TV (A,C,D,N)

ll Non-lnterconnected

ArizonaPh.oenir

KPHO-TV (A,C,D,N)

CaliforniaSan Diego

KFMB-TV (A,C,N,P)

FloridaMiami,

WTVJ (A,C,D,N)

LouisianaNew Orleans

WDSU-TV (A,C,D,N)

New Mexico

AlbuquerqueKOB-TV (A,C,D,N)

New YorkBinglmmton

WNBF-TV (A,C,D,N)

Oklahoma

Oklahoma CityWKY-TV (A,C,D,N)

TulsaKOTV (A,C,D,N,P)

WashingtonSeattle

KING-TV (A,C,D,N,P,I

TWO-STATION COMMUNITIES9 Interconnected

AlabamaBirmingham

WAFM-TV (A,C,P)WBRC-TV (D,N)

GeorgiaAtlanta

WAGA-TV (C,D)WBRC-TV (D,N)

IllinoisDaoenport (Ia.) -Rock Isl.

WHBF-TV (A,C,D)\/oc-TV (N,P) ..

KentuckyLouisaille

WAVE-TV (A,D,N,P)WHAS-TV (C)

MassachusettsBoston

WBZ-TV (N)WNAC-TV (A,C,D,P)

MinnesotaMi,nn-St. Paul,

KSTP-TV (N)WTCN-TV (A,C,D,P)

NebraskaOmnha

KMTV (A,C,D)wow-Tv (N,P)

New YorkSEracuse

WHEN (A,C,D)wsYR-TV (N,P)

OhioDaEton

WHIO-TV (A,C,D,P)wLw-D (N)

TWO-STATION COMMUNITIES3 Non-lnterconnected

DallasKRLD-TVWFAA-TV

San AntonioKEYL.TVWOAI-TV

Texas

(c)(A,D,N,P)

(A,D,P)(C,N)

UtahSaIt Lake City

KDYL-TV (N,P)KSL-TV (A,C,D)

5. The Network

List of Interconnected and Non- Interconnected Communities.

ONE-STATION COMMUNITIES 29 Interconnected

Connecticut New Haven

WNHC-TV^A,C,D,N,P)

Delaware Wilmington

WDEL-TV (D,N)

Florida Jacksonville

WMBR-TV (A,C,D,N)

Indiana Bloomington

WTTV (A,C,D,N,BE Indianapolis

WFBM-TV (A,C,D,N)

Iowa Ames

WOI-TV i^,C,D,N)

Michigan Grand Rapids

WLAV-TV fA,C,D,N) Kalamazoo

WKZO (A,C,D,N) Lansing

WJIM-TV (A,C,D,N)

Missouri Kansas City

WDAF-TV (A,C,D,N) St. Louis

KSD-TV (A,C,D,N,P)

New York Buffalo

WBEN-TV (A,C,D,N) Rochester

WHAM-TV (A,C,D,N) Schenectady

WRGB (C,D,N) Utica

WKTV (A,C,N)

North Carolina Charlotte

WBTV (A,C,D,N) Greensboro

WFMY-TV (A,C,D,N)

Ohio Toledo

WSPD-TV (A,C,D,N,P)

Pennsylvania Erie

WICU (C,D,N) Johnstown

WJAC-TV (A,C,D,N)

APRIL, 1951

Lancaster WGAL-TV (A,C,D,N,P)

Pittsburgh WDTV (A,C,D,N)

Texas Ft. Worth

WBAP-TV (A,N) Houston

KPRC (A,C,D,N,P)

Rhode Island

Providence WJAR-TV (C.NjP)

Tennessee

Memphis WMCT (A,C,D,N)

Virginia

Norfolk WTAR-TV rA,C,N,P)

Richmond WTVR (C,D,N,P)

W. Virginia

Huntington WSAZ-TV (A,C,D,N)

Wisconsin

Mihvaukee WTMJ-TV (A.C.D.N)

11 Non-Interconnected

Arizona

Phoenix KPHO-TV (A,C,D,N)

California

San Diego KFMB-TV (A,C,N,P)

Florida Miami

WTVJ (A,C,D,N)

Louisiana

New Orleans WDSU-TV (A,C,D,N)

New Mexico

Albuquerque KOB-TV (A,C,D,N)

New York

B,ing hamt on WNBF-TV (A,C,D,N)

Oklahoma

Oklahoma City WKY-TV (A.C.D.N)

Tulsa KOTV (A,C,D,N,P)

Washington Seattle

KING-TV (A,C,D,N,P;

TWO-STATION COMMUNITIES 9 Interconnected

Alabama Birmingham

WAFM-TV (A,C,P) WBRC-TV (D,N)

Georgia Atlanta

WAGA-TV fC,DI WBRC-TV (D,N)

Illinois Davenport (la.)-Rock Isl.

WHBF-TV (A,C,D) WOC-TV (N,P)

Kentucky Louisville

WAVE-TV (A,D,N,P) WHAS-TV (C)

Massachusetts Boston

WBZ-TV (N) WNAC-TV (A,C,D,P)

Minnesota Minn.-St. Paul

KSTP-TV (N) WTCN-TV (A,C,D,P)

Nebraska Omaha

KMTV (A,C,D) WOW-TV (N,P)

New York Syracuse

WHEN (A,C,D) WSYR-TV (N,P)

Ohio Dayton

WHIO-TV (A,C,D,P) WLW-D (N)

TWO-STATION COMMUNITIES 3 Non-Interconnected

Texas Dallas

KRLD-TV (C) WFAA-TV (A,D,N,P)

San Antonio KEYL-TV (A,D,P) WOAI-TV (C.N)

Utah Salt Lake City

KDYL-TV (N,P) KSL-TV (A,C,D)

15


THREE-STATION COMMUN ITIES

6 Interconnected

BaltimoreWAAM(N,P);

Maryland

(A,D); WBAL-TVWMAR-TV (C)

MichiganDetroit

WJBK-TV (C,D) ; WWJ-TV (NwxYZ-TV (A,P)

OhioCleaeland

WEWS (A,C) ; WNBK (N)WXEL (A,D,P)

CincinnatiwcPo-TV (A,D,P)WKRC-TV (C)wLw-T (N)

ColumbusWBNS-TV (C,P); WLW-C (N)WTVN (A,D)

PennsylvaniaPhi.Iadelpltia

WCAU-TV (C)WFIL-TV (A,D,P)WPTZ (N)

I Non-lnterconnected

CaliforniaSan Francisco

KGO-TV (A); KPIX (C,D,P)KRON-TV (N)

FOUR-STATION COMMUNITIES2 lnterconnected

District of ColumbiaWasltington

WMAL-TV tA); WNBW (N)WTOP-TV (C,P); WTTG (D)

IllinoisChicago

WBKB (C,P); WENR-TV (A)WGN-TV (D) ; WNBQ (N)

SEVEN-STATION COMMUNITIESI Interconnected

New YorkNew York

WABD (D); WATV; WCBS-TV (C) ; WJZ-TY (A); WNBT(N) ; WOR-TV (P) ; WPIX (P)

I Non-lnterconnected

CalifornlaLos Angeles

KECA-TV (A); KFI-TV;KLAC-TV; KNBH (N) KTLA(P) KTSL (C); KTTV (C)

t6

Alabama ...

ArizonaArkansasCaliforniaColoradoConnecticut -....,....DelawareDist. Columbia ..-.

FloridaGeorgia

Totals

TERRITORYAlaska-.,,,,.HawaiiPuerto Rico --..-.....Virgin Islands .,,,-.

Grand Totals .-.-

Idaho ..-...... 14Illinois 9

Indiana 5

Iowa -.-.. ..... 10Kansas...-10Kentucky . 5

Louisiana 11

Maine- -, . 8

Maryland 3Massachusetts ....-- 3Michigan 17Minnesota ,. .. 12

Mississippi 7Missouri -.... . 14

Montana t7Nebraska 12Nevada 13

New Hampshire.... INew Jersey ,.-. .-.,. 1

New Mexico ..,...-- 12

New York 16North Carolina .-,. 11North Dakota ...... 74

Ohio . .. l3Oklahoma 9

Oregon 8Pennsylvania ..--.. 8

Rhode Island --,..--- 2South Carolina ---- 6

South Dakota -. . 10Tennessee 11Texas ...-.---. 43Utah - ....,... 8Vermont 1

Virginia 8

Washington -.-...-.,. 10West Virginia -..... 6Wisconsin 8Wyoming 9

Revised Proposed TU Channel Assignments By States

Commer- Ed'uca- Commer' Educa- No.of No'ofci,al ti,onal cial tional Commu' Assign-

VHF VHF IIHF UHF ni'ties mentsSTATE

32 45tt 2q

26 384L 8023 3610 142416

29 5637 5322 2836 5628 4538 5836 4925 3227 4220 29-712

13 2340 6535 4828 3930 5326 3919 8416 2211 1289

25 3530 5536 51L7 3:l35 5i38 542t 3231 52l4

20 27l7 3033 51

114 77610 19810

25 3724 4r16 2327 4423 27

34315027 1

44625 1

11 1

zl11

294353L2 1

42333642435226 1

28218281

19042634027434216L20 1

7l10080

20031 83271343773e420 1

40811

182162362

115 119281

24527 1

13431 4170

222L

3000o2

t)

t28

28dI

21

41813

12I22011

01

0213D

1

1

1

030I20231

01

22r7I

l-

00301

1

t2391230 127 1914

1516

8a

0000

441

0

000U

64o2

1920

9rf

1230 1965t27 1256

TELEVISER

THREE-STATION COMMUNITIES 6 Interconnected

Maryland Baltimore

WAAM (A,D) ; WBAL-TV (N,P) ; WMAR-TV (C)

Michigan Dctvoti

WJBK-TV (C,D) ; WWJ-TV (N WXYZ-TV (A,P)

Ohio Cleveland

WEWS (A,C) ; WNBK (N) WXEL (A,D,P)

Cincinnati WCPO-TV (A,D,P) WKRC-TV (C) WLW-T (N)

Columbus WBNS-TV (C,P); WLW-C (N) WTVN (A,D)

Pennsylvania Philadelphia

WCAU-TV (C) WFIL-TV (A,D,P) WPTZ (N)


California San Francisco

KGO-TV (A) ; KPIX (C,D,P) KRON-TV (N)

FOUR-STATION COMMUNITIES 2 Interconnected

District of Columbia Washington

WMAL-TV (A) ; WNBW (N) WTOP-TV (C.P) ; WTTG (D)

Illinois Chicago

WBKB (C,P) ; WENR-TV (A) WGN-TV (D) ; WNBQ (N)

SEVEN-STATION COMMUNITIES 1 Interconnected

New York New York

WABD (D); WATV; WCBS- TV (C) ; WJZ-TV (A) ; WNBT (N) ; WOR-TV (P) ; WPIX (P)


California Los Angeles

KECA-TV (A); KFI-TV; KLAC-TV; KNBH (N) KTLA (P) KTSL (G) ; KTTV (C)

Revised Proposed TV Channel Assignments By States

Commer- Educa- Commer- Edmca- No. of No. of cial tional cial tional Commu- Assign-

STATE VHF VHF VHF VHF nities ments

Alabama 6 2 34 3 32 45

Arizona . ... 12 2 15 0 22 29 Arkansas 8 2 27 1 26 38 California 28 2 44 6 41 80 Colorado 7 3 25 1 23 36 Connecticut 2 0 11 1 10 14 Delaware 1 0 2 1 2 4 Dist. Columbia .. .. 4 0 1 1 1 6 Florida 18 5 29 4 29 56 Georgia .. 13 2 35 3 37 53 Idaho .. 14 1 12 1 22 28 Illinois . 9 2 42 3 36 56 Indiana .. 5 1 33 6 28 45 Iowa .. 10 2 42 4 38 58 Kansas .. 10 2 35 2 36 49 Kentucky .. 5 0 26 1 . 25 32 Louisiana 11 1 28 2 27 42 Maine 8 1 18 2 20 29 Maryland - 3 0 8 1 7 12 Massachusetts 3 1 19 0 13 23 Michigan 17 0 42 6 40 65 Minnesota 12 2 34 0 35 48 Mississippi .. .. 7 1 27 4 28 39 Missouri — 14 3 34 2 30 53 Montana ... 17 5 16 1 26 39 Nebraska . . .. 12 1 20 1 19 34 Nevada 13 1 7 1 16 22 New Hampshire. 1 1 10 0 11 12 New Jersey 1 0 8 0 8 9 New Mexico .. 12 3 20 0 25 35 New York 16 0 31 8 30 55 North Carolina .. .. 11 1 32 7 36 51 North Dakota ... .. 14 2 13 4 17 33 Ohio .. 13 0 37 7 35 5i Oklahoma .. 9 2 39 4 38 54 Oregon .. 8 3 20 i 21 32 Pennsylvania .... 8 1 40 3 31 52 Rhode Island 2 0 1 1 1 4 South Carolina .. 6 1 18 2 20 27 South Dakota .. ... 10 2 16 2 17 30 Tennessee .— ... 11 2 36 2 33 51 Texas . 43 7 115 11 114 176 Utah 8 1 8 2 10 19 Vermont 1 0 8 1 8 10 Virginia 8 0 24 5 25 37 Washington .. 10 3 27 1 24 41 West Virginia .- 6 0 13 4 16 23 Wisconsin 8 1 , 31 4 27 44 Wyoming 9 1 17 0 23 27

Totals .. 484 73 1230 127 1239 1914

TERRITORY Alaska .. 15 4 0 0 6 19 Hawaii 16 4 0 0 4 20 Puerto Rico ... 8 1 0 0 5 9 Virgin Islands ... 3 0 0 0 2 3

Grand Totals . ... 526 82 1230 127 1256 1965

16 TELEVISER


Kefouver heoringe prove tv to be

qn outstonding reporting mediurn

o o O ur:"*'"T

"1;n x,i i,, ill'' 3ll;Ted Esterbrook, the man who di-rected the telecast of the Kefauverhearings held in New York. "Therewere plenty of temPtations to takecertain camera shots solelY fortheir dramatic possibilities. Oneof the Senators, for examPle, aP-peared to be dozing during Am-bassador O'-DwYers long openingstatement. We, however, avoidedall horseplay and purPoselY re-frained from picking uP variousenticing scenes."

G. Bennett Larson, station man-ager of WPIX, instructed Ester-brook and his crew to stick tostraight camera reporting whenthe station got the necessary Per-mission to cover the hearings.These rights were obtained throughthe Daily News office in Washing-ton, and with the helP of crimereporter, Harry T. Brundige. Oneproblem that had to be overcomewas the ban on any cameras beingused in the Federal Courthouse.

Although WPIX had the onlYTV crew at the sessions, all New

HARRY BRUNDIGE, in on exclu-sive video interview with Fronk Cos-

tello, persuodes the gombler to smitefor the TV comeros.

APRIL, I95I

TU Reports on Grimeby Robert E' Harris

York stations aired the Proceed-ings at various times and it wasnetworked to a good manY out-of-town cities. WJZ-TV, New Yorkwas one of the few stations to sellthe pick-ups to a sPonsot. Timemagazine paid them a rePorted$1500 a day for the Package. Themajority of stations carried thehearings as a public service, can-celling many hours of commercialtime.

The policy of straight rePortingwas abandoned on onlY two in-stances, both of which involvedcamera-shy, Frank Costello. Com-mentator Brundige asked Costelloat the conclusion of his testimony'to look up at the TV cameras andsmile. He did so. At another time,lvhen Virginia Hill Houser wastestifying, Estherbrook directedhis cameramen to pick uP Costellowho was sitting in the corner ofthe courtroom straining to hearher words.

One of Esterbrook's major vis-ual problems was not being al-lowed to televise Costello duringhis testimony. He got around thisthe first day by simply showingCostello's hands as they graPhic-ally portrayed his nervous tension'On t'ivo occasions, Costello'sshadow on the wall of the court-room was picked up. To avoid anycriticism, Esterbrook later re-frained from this practice also,contenting himself with pickingup Costello only before and afterhis appearances on the witnessstand.

Another problem for the direc-tor was to determine when to cutfrom the investigators to the wit-nesses during the interrogations.Esterbrook tried to figure out whatthe witness might answer in eachcase. If it was a short.ytis or no

RUDOLPH HALLEY (left), ChiefCounsel of the Kefouver Investi-ootinq Committee, congrotulotesTed E-sterbrook for the iob done bY

his video crew.

reply, he would staY with the in-terrogator. If he felt a longer re-sponse was forthcoming, he wouldput the camera on the witness.This naturally demanded that hepay close attention to the testi-mony all the time.

Esterbrook stated that SenatorKefauver and Chief Counsel, Ru-dolph Halley, were extremelY co-operative at all times. Halley, forexample. would let him knowwhether the witness would be ac-companied by a counsel or whethera debate or a certain action mighttake place. In this way, Esterbrookwould be ready with the rightlenses on his cameras to cover theaction.

The pick-up equipment includedtwo cameras. each with four lenses,and ni,ne microphones. The cam-eras were placed on a platformalong with the movie cameras,parallel to the witness stand andin front of the investigatcir's table.Esterbrook had the red lightstaken off his cameras so that noone would know just when he wasbeing televised. The WPIX crew

t7

Kefauver hearings prove tv to be

an outstanding reporting nedium

TV Reports on Crime

by Robert E. Harris

UR objective was straight- VF forward reporting," said

Ted Esterbrook, the man who directed the telecast of the Kefauver hearings held in New York. "There were plenty of temptations to take certain camera shots solely for their dramatic possibilities. One of the Senators, for example, appeared to be dozing during Am- bassador 0',Dwyers long opening statement. We, however, avoided all horseplay and purposely re- frained from picking up various enticing scenes."

G. Bennett Larson, station manager of WPIX, instructed Ester- brook and his crew to stick to straight camera reporting when the station got the necessary permission to cover the hearings. These rights were obtained through the Daily News office in Washing- ton, and with the help of crime reporter, Harry T. Brundige. One problem that had to be overcome was the ban on any cameras being used m the Federal Courthouse.

Although WPIX had the only TV crew at the sessions, all New

■ I

HARRY BRUNDIGE, in an exclusive video interview with Frank Cos- tello, persuades the gambler to smile for the TV cameras.

York stations aired the proceedings at various times and it was networked to a good many out-of- town cities. WJZ-TV, New York was one of the few stations to sell the pick-ups to a sponsor. Time magazine paid them a reported $1500 a day for the package. The majority of stations carried the hearings as a public service, can- celling many hours of commercial time.

The policy of straight reporting was abandoned on only two instances, both of which involved camera-shy, Frank Costello. Com- mentator Brundige asked Costello at the conclusion of his testimony, to look up at the TV cameras and smile. He did so. At another time, when Virginia Hill Houser was testifying, Estherbrook directed his cameramen to pick up Costello who was sitting in the corner of the courtroom straining to hear her words.

One of Esterbrook's major visual problems was not being allowed to televise Costello during his testimony. He got around this the first day by simply showing Costello's hands as they graphic- ally portrayed his nervous tension. On two occasions, Costello's shadow on the wall of the courtroom was picked up. To avoid any criticism, Esterbrook later re- frained from this practice also, contenting himself with picking up Costello only before and after his appearances on the witness stand.

Another problem for the director was to determine when to cut from the investigators to the wit- nesses during the interrogations. Esterbrook tried to figure out what the witness might answer in each case. If it was a short.ye's or no

: ,

* a

RUDOLPH HALLEY (left). Chief Counsel of the Kefauver Investi- gating Committee, congratulates Ted Esterbrook for the job done by his video crew.

reply, he would stay with the in- terrogator. If he felt a longer response was forthcoming, he would put the camera on the witness. This naturally demanded that he pay close attention to the testimony all the time.

Esterbrook stated that Senator Kefauver and Chief Counsel, Ru- dolph Halley, were extremely co- operative at all times. Halley, for example, would let him know whether the witness would be ac- companied by a counsel or whether a debate or a certain action might take place. In this way, Esterbrook would be ready with the right lenses on his cameras to cover the action.

The pick-up equipment included two cameras, each with four lenses, and nine microphones. The cameras were placed on a platform along with the movie cameras, parallel to the witness stand and in front of the investigator's table. Esterbrook had the red lights taken off his cameras so that no one would know just when he was being televised. The WPIX crew

APRIL, 1951 17


consisted of three camera men,(with the allernate men helpingout by adjusting mikes etc.), oneaudio man, one video man, onetechnical director, one announcer,Commentator Brundige and Ester-brook as director.

It is estimated that on March19th, about 600,000 TV sets andsome 2,400,000 New York viewers,plus uncounted thousands in barsand public places were tuned infor former Mayor O'Dwyer,s ap-pearance. Unlike some of the otherwitnesses who complained aboutthe television pick-ups. O'Dwyerleaned into the microphones anddirected many of his remarks atthe TV cameras.

Actually, the telecasts pre-sented a more revealing presenta-tion of the proceedings than it waspossible to obtain by being per-sonally present in the courtroom.After spending the entire day atthe hearings, it was not until view-ing the kinescopes of the sessionsdid this u'riter get to see whatVirginia Hill Houser looked like.Her face had been practically hid-den from courtroom view by alarge hat. We strained with therest of those in attendance to hearthe testimony of the various wit-nesses. Much of it was inaudible.Yet, the television microphonespicked it all up loud and clear.The telecasts were the major topicof conversation wherever peoplecongregated. Newspapers and theradio repeatedly commented on therole television was playing in thehearings, and the impact it washaving on the public.

The New York Times. for ex-ample, stated "There is broadagreement that the Committee hasproved television a powerful in-strument for personal politicing.Observers point out that Mr. Ke-fauver, only a few months ago alittle known freshman Senator, isnow a national figure. He is evenbeing mentioned in connectionwith the Presidency."

That television is an outstand-ing advertising medium is by nowan indisputable fact. That it canbe a wonderful medium of enter-tainment has been shown manytimes. Last rnonth televisionproved itself to be the most pow-erful reporting medium yet de-vised.

l8

by John DeMott

D) ECAUSE we feel that in past months we havel) of the general effects for any television show,add a few more suggestions which might help toalready been discussed.

We have discussed how to make the special efrects of rain, snow,

sleet etc. During a particular scene which let us say, is being shotoutside a doorway of a building or a home, you might want to show aclose-up of a damp wall. To secure the effect of damp walls, we sug-gest that you first paint the backgrounds with either your scenic paintor an oil paint with a dull finish. Spray this with either a thin varnishor a solution which contains plenty of any water soluble glue. Utmostprecaution should be taken to spray or paint only the areas that requirea damp appearance. When the above mentioned solution is sprayed onyour background, it will not only darken the area you have sprayed butyou will also get a shiny, wet-looking surface. If in the same scene youhave props that you want to appear wet, we suggest that you spraythem with, oddly enough, water!

Another effect that is used quite often, is that of smoking guns. Youknow, of course, that using blanks for gun-shots is extremely hazardousbecause of either flash burns or flying residue. To overcome any dangerwe suggest you use a toy gun which is on the market, and whose ap-pearance can be changed without damaging the working parts by cuttingoff part of the barrel. The name of the gun is the Roy Rogers Smokerand it is a .45 calibre revolver model. These guns come equipped with a

small portion of milk of magnesia powder with all instructions forloading. When you want more smoke, we suggest you add common corn

covered a great dealwe are just going toembellish what has

starch.

We suggestdetails on how

you refer to our earlier column on smoke for furtherto produce smoke.

Supposing that your script calls for furniture tn be smashed orbroken and you want to make sure that it collapses on schedule. Here'swhat we suggest: take any ordinary chairs, tables, or whatever articleof furniture you want to break-away and saw through legs, back posts,

etc. on a diagonal. Then drill a hole through each section big enoughto receive an ordinary round toothpick. If this is done properly, youwill find that even though the chair or table is being held together rvithjust a toothpick, it will hold properly distributed weight until the timearrives to apply extra pressure to the furniture.

When you wish to show windows on your set but you find that realglass windows cause too much reflection which cannot be eliminated,we suggest this way to make a window that looks real but isn't. Takeone-inch strips or one-quarter to one-eighth inch plexiglass and applythese strips to the inside edge of your window frame on all four sidesat the points where real glass would normally make contact. This thinedging of plexiglass will pick up the light and will give the illusionof solid glass without producing troublesome reflections.

TELEVISER,

consisted of three camera men, (with the alternate men helping out by adjusting mikes etc.), one audio man, one video man, one technical director, one announcer, Commentator Brundige and Ester- brook as director.

It is estimated that on March 19th, about 600,000 TV sets and some 2,400,000 New York viewers, plus uncounted thousands in bars and public places were tuned in for former Mayor O'Dwyer's appearance. Unlike some of the other witnesses who complained about the television pick-ups, O'Dwyer leaned into the microphones and directed many of his remarks at the TV cameras.

Actually, the telecasts presented a more revealing presentation of the proceedings than it was possible to obtain by being personally present in the courtroom. After spending the entire day at the hearings, it was not until viewing the kinescopes of the sessions did this writer get to see what Virginia Hill Houser looked like. Her face had been practically hid- den from courtroom view by a large hat. We strained with the rest of those in attendance to hear the testimony of the various wit- nesses. Much of it was inaudible. Vet, the television microphones picked it all up loud and clear. The telecasts were the major topic of conversation wherever people congregated. Newspapers and the radio repeatedly commented on the role television was playing in the hearings, and the impact it was having on the public.

The New York Times, for example, stated "There is broad agreement that the Committee has proved television a powerful in- strument for personal politicing. Observers point out that Mr. Ke- fauver, only a few months ago a little known freshman Senator, is now a national figure. He is even being mentioned in connection with the Presidency."

That television is an outstanding advertising medium is by now an indisputable fact. That it can be a wonderful medium of entertainment has been shown many times. Last month television proved itself to be the most powerful reporting medium yet de- vised. .

KilMIIIKinH

by John DeMoH

BECAUSE we feel that in past months we have covered a great deal of the general effects for any television show, we are just going to

add a few more suggestions which might help to embellish what has already been discussed.

We have discussed how to make the special effects of rain, snow, sleet etc. During a particular scene which let us say, is being shot outside a doorway of a building or a home, you might want to show a close-up of a damp wall. To secure the effect of damp walls, we suggest that you first paint the backgrounds with either your scenic paint or an oil paint with a dull finish. Spray this with either a thin varnish or a solution which contains plenty of any water soluble glue. Utmost precaution should be taken to spray or paint only the areas that require a damp appearance. When the above mentioned solution is sprayed on your background, it will not only darken the area you have sprayed but you will also get a shiny, wet-looking surface. If in the same scene you have props that you want to appear wet, we suggest that you spray them with, oddly enough, water!

Another effect that is used quite often, is that of smoking guns. You know, of course, that using blanks for gun-shots is extremely hazardous because of either flash burns or flying residue. To overcome any danger we suggest you use a toy gun which is on the market, and whose appearance can be changed without damaging the working parts by cutting off part of the barrel. The name of the gun is the Roy Rogers Smoker and it is a .45 calibre revolver model. These guns come equipped with a small portion of milk of magnesia powder with all instructions for loading. When you want more smoke, we suggest you add common corn starch.

We suggest you refer to our earlier column on smoke for further details on how to produce smoke.

Supposing that your script calls for furniture to be smashed or broken and you want to make sure that it collapses on schedule. Here's what we suggest: take any ordinary chairs, tables, or whatever article of furniture you want to break-away and saw through legs, back posts, etc. on a diagonal. Then drill a hole through each section big enough to receive an ordinary round toothpick. If this is done properly, you will find that even though the chair or table is being held together with just a toothpick, it will hold properly distributed weight until the time arrives to apply extra pressure to the furniture.

When you wish to show windows on your set but you find that real glass windows cause too much reflection which cannot be eliminated, we suggest this way to make a window that looks real but isn't. Take one-inch strips or one-quarter to one-eighth inch plexiglass and apply these strips to the inside edge of your window frame on all four sides at the points where real glass would normally make contact. This thin edging of plexiglass will pick up the light and will give the illusion of solid glass without producing troublesome reflections.

18 TELEVISER


Commerciqls of the Monthon odvertising directory of lilm commercials

Groy-O'Reilly Studios480 Lexington AvenueNew York, N. Y.PLaza 3-1531-2


Prod,ucers of film commercials, both,animation and liae; complete f aci,ti-ties for complete production underone roof.

Van Dyck cigars' 60-second com-mercials are full animation withmusical jingle and singers. Fed-eral Advertising Agency handlesthe account.

Von Dyck Cigors

Groy-O'Reilly Stridios480 Lexington AvenueNew York, N. Y.PLaza 3-1531-2


Prod,ucers of fiIm commerci,als, botltanimation and liue; complete facili-ties for complete production underone roof.

These 20 second spots for ArrowBeer feature animated goat andlive action. Agency is Joseph Arm-strong Co.

Arrow Beer

Groy-O'Reilly Studios480 Lexington AvenueNew York, N. Y.PLaza 3-1531-2

James Gray, Vice-Ptesident incharge of sales.

Producers of film connnercials, botltanimation and liae; complete factli-ti.es f or complete produ,etion u,nderane roof.

Betty Ann Grove, singing anddancing star, with vocal back-ground and music. One-minute and20-second spots produced for J. D.Tarcher and Co.

Benrus

Seoboord Studios, Inc.157 East 69th StreetNew York 21. N. Y.REgent 7-9200

Animated and liue action TV com-mercials, programs and, busi,nessfilms of higltest prof essional stand,-ards. . . . Lar g est indepen:dent studioin New York. .,

Cecil & Presbrey, Inc. are buildingan enviable reputation for hard-hitting, product-selling comm€r-cials. The new PY-CO-PAY Tooth-brush commercials rank with theirrecent Tintair and Ammident com-mercials for real selling ptrnch.


Commercials of the Month

an advertising directory of film commercials iiiniiiiiiiuiiipi iMmmiiiiiiiMHiiiiiiumiiiii

Gray-O'Reilly Studios 480 Lexington Avenue New York, N. Y. PLaza 3-1531-2

James Gray, Vice-President in charge of sales.

Producers of film commercials, both animation and live; complete facilities for complete production under one roof.

WAi, t'L i .r J: il l. fl XV ■% .Ml ;

m

1

Van Dyck Cigars

Van Dyck cigars' 60-second commercials are full animation with musical jingle and singers. Fed- eral Advertising Agency handles the account.

Gray-O'Reilly Studios 480 Lexington Avenue New York, N. Y. PLaza 3-1531-2 James Gray, Vice-President in charge of sales.

Producers of film commercials, both animation and live; complete facilities for complete production under one roof.

rsrom' 6#^ APROW

B-'r. BEER

m

Arrow Beer

These 20 second spots for Arrow Beer feature animated goat and live action. Agency is Joseph Arm- strong Co.

Gray-O'Reilly Studios 480 Lexington Avenue New York, N. Y. PLaza 3-1531-2

James Gray, Vice-President charge of sales. Producers of film commercials, both animation and live; complete facilities for complete production under one roof.

m

Seaboard Studios, Inc. 157 East 69th Street New York 21, N. Y. REgent 7-9200

Animated and live action TV commercials, programs and business films of highest professional standards. ... Largest independent studio in New York.

Benrus

n

Betty Ann Grove, singmg and dancing star, with vocal background and music. One-minute and 20-second spots produced for .1. D. Tarcher and Co.

Cecil & Presbrey, Inc. are building an enviable reputation for hard- hitting, product-selling commercials. The new PY-CO-PAY Tooth- brush commercials rank with their recent Tintair and Ammident commercials for real selling punch.

Py-Co-Pay Toothbrush mtimtiiiiimuiKiiimitKii

APRIL, I95T 19


the story behind live television's

only one-mon repertory compuny

Electricql Ventriloquismby Wclter Covell

ooW frt rl3fll;:Yone

thought

A writer covering the New Yorkentertainment field for some Cana-dian newspapers put the questionto me. She had just seen electricaiventriloquism at work, riraking pos-sible another of my Backstage Stor'ies, aired every Thursday eveningfrom 7:15 to 7':30 over WJAR-TV,Channel 11, Providence. The an-swer to that question requires aprior answer to another: What iselectrical ventriloquism ?

One Actor Ploy

"Electrical ventriloquism" is a

term which I have taken the libertyof coining to describe the techniqueby which a single actor may play allthe parts in a continuous drama,including the role of narrator. It isused to create the illusion for theviewer that he is sitting in at acomplete dramatic presentation, al-though, perhaps without realizingit, he has never seen on the screen

at any time more than one charac-ter from the total cast involved inthe story. In essence, electrical ven-triloquism is the recording of dia-logue by a vocal acrobat . . dia-logue which, when played back,seems to be the voices of actors justout of camera range, talking to theonly performer visible to the audi-ence in any given scene.

Simple, isn't it? Then why hasn'tanyone thought of it before? Be-cause, by the same reasoning thatthe cart should follow the horse,electrical ventriloquism had to waitfor the invention of mdgneticrecording and television, whichhaven't been with us long. The actorwho is forced to depend on the me-chanics of acetate recording must

'.20

o

wind up in a straight jacket. He

must be letter-perfect and temPo-perfect in his live lines, or he willrun into cues from the sPinningdisc- and cotne out mumbo-jumbo.The brakes of the wire or tape sYs-

tem are his rest cure, giving himair on the long live lines. He holds

his own with the short ones, if he

is fortunate, while the recordedsnatches between which he speaks

run relentlessly on.Television is electrical ventrilo-

<1uism's only ideal medium. In radiothe ingenuity of the techniquewould obviously be lost and unnec-cessary. The legitimate stage pre-sents the problems both of balanc-ing the live and recorded sound, andof creating the illusion that the per-former is talking to anyone excepthimself. Film offers freedom ofmovement, but makes electrical ven-triloquism pointless since only livetelevision demands virtually thecontinuous presence of the talentbefore the ca-mera if he is alone.

As soon as television and mag-netic recording became robust in-fants, a happy union of the twocould be arranged even before theycame of age. Who would be thematchmaker? Someone with certainspecialized qualifications. Mostlikely candidate must have a con-siderable experience as a characteractor, for the most successful userof electrical ventriloquism is thetalent who is able to obliterate hisown personality at will, and divideit, both vocally and visibly, by thehundreds. In addition. he must havea deep-seated desire to entertain.And finally, he must be earnestlyinterested in creating a techniquewhich is patterned almost exclu-sively to suit the requirements of

television production. Let Dame

Fortune single out such a man fromthe relatively limited number of hiskind, and you have the logicalchoice for matchmaker. For some

reason, peculiar to the intuition ofthis most lickle of women, she aP-

pointed me.In the basic concept of electrical

ventriloquism there is nothingreally new. Dialogue has been re-corded with hiatuses where livespeeches may be interspersed.Radio and the theater have offeredyou many fitre examples of one-man

shows. Actors have donned anddoffed make-up before an audience,and have voiced-over themselves as

they pantomimed. With the assist-ance of television and magnetic re-cording, I have combined these ele-

ments into a distinct art form.Electrical ventriloquism is no

mere novelty gimmick, like the hat-switcher's bit. Its use is limitedonly by the ability of the actor whorelies on it as a showcase of hisvirtuosity. The recording tape orwire is the skewer upon which theshish kebab of his impersonatiousis spitted. The lucky camera hogneed share his time with nobody.He is the whole show from introto finale. He can play all the charac-ters in every scene of his script. Hecan be the live'hero in the flrst se-

quence and the recorded villain;the live villain and recorded heroin the next. He works mostly inclose-up, exploiting the manifoldinterpretive powers inherent in thehuman face. His clearly establishedand identified voices are free to runlive or recorded as the situationsuits, just as his make-up and cos-tume can change with the setting.He can act empty-handed to a cur-tain or brick wall, or bust thebudget for marble halls and a boat-load of props if the sponsor will lethim. He can narrate on recordwhile visibly changing make-up,while the scene dissolves to thebackground that follows, or whilethe camera lingers on a significantprop. He can narrate live if he feelslike it, establishing only vocally thesituation for the next patch of dia-logue that aclvances the story. Hecan open and close the show using

TELEVISER

Electrical Ventriloquism

by Walter Covell

• • •

the story behind live television's

only one-man repertory company

HY hasn't anyone thought W of this before?"

A writer covering the New York entertainment field for some Cana- dian newspapers put the question to me. She had just seen electrical ventriloquism at work, making possible another of my Backstage Stor- ies, aired every Thursday evening from 7:15 to 7:30 over WJAR-TV, Channel 11, Providence. The answer to that question requires a prior answer to another: What is electrical ventriloquism?

One Actor Play "Electrical ventriloquism" is a

term which I have taken the liberty of coining to describe the technique by which a single actor may play all the parts in a continuous drama, including the role of narrator. It is used to create the illusion for the viewer that he is sitting in at a complete dramatic presentation, although, perhaps without realizing it, he has never seen on the screen at any time more than one character from the total cast involved in the story. In essence, electrical ventriloquism is the recording of dialogue by a vocal acrobat . . . dialogue which, when played back, seems to be the voices of actors just out of camera range, talking to the only performer visible to the audience in any given scene.

Simple, isn't it? Then why hasn't anyone thought of it before? Be- cause, by the same reasoning that the cart should follow the horse, electrical ventriloquism had to wait for the invention of magnetic recording and television, which haven't been with us long. The actor who is forced to depend on the me- chanics of acetate recording must

wind up in a straight jacket. He must be letter-perfect and tempo- perfect in his live lines, or he will run into cues from the spinning disc and come out mumbo-jumbo. The brakes of the wire or tape system are his rest cure, giving him air on the long live lines. He holds his own with the short ones, if he is fortunate, while the recorded snatches between which he speaks run relentlessly on.

Television is electrical ventriloquism's only ideal medium. In radio the ingenuity of the technique would obviously be lost and unnec- cessary. The legitimate stage presents the problems both of balanc- ing the live and recorded sound, and of creating the illusion that the performer is talking to anyone except himself. Film offers freedom of movement, but makes electrical ventriloquism pointless since only live television demands virtually the continuous presence of the talent before the camera if he is alone.

As soon as television and magnetic recording became robust in- fants, a happy union of the two could be arranged even before they came of age. Who would be the matchmaker? Someone with certain specialized qualifications. Most likely candidate must have a con- siderable experience as a character actor, for the most successful user of electrical ventriloquism is the talent who is able to obliterate his own personality at will, and divide it, both vocally and visibly, by the hundreds. In addition, he must have a deep-seated desire to entertain. And finally, he must be earnestly interested in creating a technique which is patterned almost exclusively to suit the requirements of

television production. Let Dame Fortune single out such a man from the relatively limited number of his kind, and you have the logical choice for matchmaker. For some reason, peculiar to the intuition of this most fickle of women, she ap- pointed me.

In the basic concept of electrical ventriloquism there is nothing really new. Dialogue has been recorded with hiatuses where live speeches may be interspersed. Radio and the theater have offered you many fine examples of one-man shows. Actors have donned and doffed make-up before an audience, and have voiced-over themselves as they pantomimed. With the assist- ance of television and magnetic recording, I have combined these elements into a distinct art form.

Electrical ventriloquism is no mere novelty gimmick, like the hat- switcher's bit. Its use is limited only by the ability of the actor who relies on it as a showcase of his virtuosity. The recording tape or wire is the skewer upon which the shish kebab of his impersonations is spitted. The lucky camera hog need share his time with nobody. He is the whole show from intro to finale. He can play all the characters in every scene of his script. He can be the live hero in the first sequence and the recorded villain; the live villain and recorded hero in the next. He works mostly in close-up, exploiting the manifold interpretive powers inherent in the human face. His clearly established and identified voices are free to run live or recorded as the situation suits, just as his make-up and costume can change with the setting. He can act empty-handed to a curtain or brick wall, or bust the budget for marble halls and a boat- load of props if the sponsor will let him. He can narrate on record while visibly changing make-up, while the scene dissolves to the background that follows, or while the camera lingers on a significant prop. He can narrate live if he feels like it, establishing only vocally the situation for the next patch of dialogue that advances the story. He can open and close the show using

20 TELEVISER


his best announcer's English. Hecan even spare a voice for a puppetto represent the sponsor and sell hisproducts, just as I have been doingfor twenty-six weeks in behalf ofthe Old Stone Bank of Providence.

The FormotAs a technique for story pres-

entation, electrical ventriloquismrequires no precisely defined for-mat. Let the pattern be dictated bythe average viewer's sentiment forthe familiar. In Providence, electri-cal ventrilocluism has been identi-fied with the title of a quarter-hour,once -weekly series - BackstageStories. Generally speaking, eachprogram at the outset finds theactor at his dressing table, makingup for the night's chief role. Hemay change that make-up later fora second or third make-up. No mat-ter what changes in voice or visualimpersonation are involved, the au-dience is prepared for it in advanceby narration or dialogue. And, atthe end, the viewer meets the per-former back in his dressing-room,removing his false hair, wigs,glasses, or rvhat have you, and bid.ding good night. The two or threegathered together in their livinglooms have seen an illusion patentlydrawn before their very eyes. Fora brief span of time the illusionhas breathed reality. And then themake-believe dissolves. The movingfinger of television has written andmoved on.

And so it iS that with a couple ofcameras, some imaginative light-ing, an average sixteen feet of stu-dio space, a prop-handing floorman,an engineel to stop and start therecorder on word or visual cues, astudio speaker leveled a few DB'sbelow feed-back deadline of a direc-tional mike, a writer such as Vir-ginia Rooks Turner who has tai-lored her scripts so neatly to thespecifications of the technique inmy present series, the entire pro-duction and engineering staf ofWJAR-TV rvhose cooperation hasbeen whole-hearted during this ex-perimental period, the T. RobleyLouttit advertising agency whiehsold it, and the Old Stone Bankwhich sponsors it electricalventriloquism provides one of thefastest quarter-hours in.televisiontoday. Yet the fullest exploitationof its possibilities remains tobe made. Suspense or Li,ghts Outmight reasonably use it, to mentiona couple. The technique has arrived.

APRIL, I95I

fI'/ HAT, if anything, is going to come of the recent warning from theW Federal Communications Commission that the Hollywood movie

companies had better make their stars and films available to television

-61 fass unfavorable consideration of their own bids to enter video?As you know, the FCC feels that a movie company which opposes

release of its best product for TV use today, in fear of the theaterexhibitors' dire wrath, is not going to change tomorrow merely becauseit acquires a TY station of its own. Its primary source of revenue willstill be theatrical distribution and the TV public will continue to bedeprived of the top-quality program fare which Hollywood can provide.

The film moguls' position is. of course, clear and simple. The nation'smovie theaters furnish them their bread and butter. It takes at least amillion dollars at the box office before a Hollywood production beginsto show a profit . . . but the best that can be hoped for from TV todayis between fifty and eighty thousand dollars. If release of their productto television brought upon their heads the threatened wrath of thetheatermen, they would have nowhere else to turn for equivalent revenue.So they don't play ball with TV.

The TV industry, naturally, takes a divergent view. Its insatiableneed for a constant flow of new-and better-material s'ould be greatlyeased if the thousands of sound films stockpiled by Hollywood overthe past ten or fifteen years \yere offered for telecasting. (Older pro-ductions would probably be too definitely "dated" to be widely ac-ceptable.) The small trickle of feature films that has found its wayinto television through back-door deals, from independent producers, orfrom abroad, has only served to whet appetites. The need continuesgreat.

Where does the public interest come in? Broadly speaking, it wouldseem that the television air waves, which are public property and whichprovide the least expensive entertainment for the (potentially) greaternumber, should be entitled to primary consideration. On the other hand.inflicting serious-possibll' fatal-injury to an important American in-dustry could hardly be considered of public benefit, either.

Is there a solution? I have one to offer . not of earth-shakingproportions, but perhaps of reasonable practicality. It involves a com-promise.

If; during 1951, all the Hollywood companies (by ,,tacit', consent)released to television all the feature films produced by them during 1936and 1937, TV programming would be enriched to the tnne of somethousand additional hours of motion picture entertainment. Films pro-duced in 1938 and 1939 could then be made available in 19b2. And soon . . . until 1964, by which time all past releases u'ould have beenexhausted (except for re-use, of course), with production and release ona strictly current basis.

If all the Hollywood companies "yielded" to the FCC together inthis way, their common action would make retaliation by the theaterexhibitors impossible. A great many of the theater men face techno-logical unemployment sooner or later, anyway. This plan would notspeed the process materiall.v-. For some years to come, the films offeredfor TV use *'ould still be deflnitely old product, and those televiewerswho want to see today's big stars in their current hits would still attendtheir favorite movie houses. By the target date, 1g64, the unavoidablereadjustment will have certainly taken place, in any case; no undueinjury will have been dealt the theater interests; and Holrywood willhave firmlv established its inevitable integration with the mighty newmedium, TV.

2l

his bWt announcer's English. He can even spare a voice for a puppet to represent the sponsor and sell his products, just as I have been doing for twenty-six weeks in behalf of the Old Stone Bank of Providence.

The Format As a technique for story pres-

entation, electrical ventriloquism requires no precisely defined format. Let the pattern be dictated by the average viewer's sentiment for the familiar. In Providence, electrical ventriloquism has been identified with the title of a quarter-hour, once - weekly series — Backstage Stories. Generally speaking, each program at the outset finds the actor at his dressing table, making up for the night's chief role. He may change that make-up later for a second or third make-up. No matter what changes in voice or visual impersonation are involved, the audience is prepared for it in advance by narration or dialogue. And, at the end, the viewer meets the performer back in his dressing-room, removing his false hair, wigs, glasses, or what have you, and bid- ding good night, The two or three gathered together in their living rooms have seen an illusion patently drawn before their very eyes. For a brief span of time the illusion has breathed reality. And then the make-believe dissolves. The moving finger of television has written and moved on.

And so it is' that with a couple of cameras, some imaginative lighting, an average sixteen feet of studio space, a prop-handing floorman, an engineer to stop and start the recorder on word or visual cues, a studio speaker leveled a few DB's below feed-back deadline of a direc- tional mike, a writer such as Vir- ginia Rooks Turner who has tai- lored her scripts so neatly to the specifications of the technique in my present series, the entire production and engineering staff of WJAR-TV whose cooperation has been whole-hearted during this experimental period, the T. Robley Louttit advertising agency which sold it, and the Old Stone Bank which sponsors it . . . electrical ventriloquism provides one of the fastest quarter-hours in television today. Yet the fullest exploitation of its possibilities remains to be made. Suspense or Lights Out might reasonably use it, to mention a couple. The technique has arrived.

WHAT, if anything, is going to come of the recent warning from the Federal Communications Commission that the Hollywood movie

companies had better make their stars and films available to television —or face unfavorable consideration of their own bids to enter video?

As you know, the FCC feels that a movie company which opposes release of its best product for TV use today, in fear of the theater exhibitors' dire wrath, is not going to change tomorrow merely because it acquires a TV station of its own. Its primary source of revenue will still be theatrical distribution and the TV public will continue to be deprived of the top-quality program fare which Hollywood can provide.

The film moguls' position is, of course, clear and simple. The nation's movie theaters furnish them their bread and butter. It takes at least a million dollars at the box office before a Hollywood production begins to show a profit . . . but the best that can be hoped for from TV today is between fifty and eighty thousand dollars. If release of their product to television brought upon their heads the threatened wrath of the theatermen, they would have nowhere else to turn for equivalent revenue. So they don't play ball with TV.

The TV industry, naturally, takes a divergent view. Its insatiable need for a constant flow of new—and better—material would be greatly eased if the thousands of sound films stockpiled by Hollywood over the past ten or fifteen years were offered for telecasting. (Older productions would probably be too definitely "dated" to be widely acceptable.) The small trickle of feature films that has found its way into television through back-door deals, from independent producers, or from abroad, has only served to whet appetites. The need continues great.

Where does the public interest come in? Broadly speaking, it would seem that the television air waves, which are public property and which provide the least expensive entertainment for the (potentially) greater number, should be entitled to primary consideration. On the other hand, inflicting serious—possibly fatal—injury to an important American industry could hardly be considered of public benefit, either.

Is there a solution? I have one to offer . . . not of earth-shaking proportions, but perhaps of reasonable practicality. It involves a compromise.

If, during 1951, all the Hollywood companies (by "tacit" consent) released to television all the feature films produced by them during 19.36 and 1937, TV programming would be enriched to the tune of some thousand additional hours of motion picture entertainment. Films produced in 1938 and 1939 could then be made available in 1952. And so on . . . until 1964, by which time all past releases would have been exhausted (except for re-use, of course), with production and release on a strictly current basis.

If all the Hollywood companies "yielded" to the FCC together in this way, their common action would make retaliation by the theater exhibitors impossible. A great many of the theater men face techno- logical unemployment sooner or later, anyway. This plan would not speed the process materially. For some years to come, the films offered for TV use would still be definitely old product, and those televiewers who want to see today's big stars in their current hits would still attend their favorite movie houses. By the target date, 1964, the unavoidable readjustment will have certainly taken place, in any case; no undue injury will have been dealt the theater interests; and Hollywood will have firmly established its inevitable integration with the mighty new medium, TV.

APRIL, 1951 21


TU $tation Reuenues

Top $l00 MillionrfiOTAL I'e\'('nttes fol the tele-I vision bloadcirst industry topped

the $100 million malk in 1950, andhalf of the 107 television stationsreported plofitable operation, ac-cording to pleliminaly estimatessubmitted by all netrvorks and sta-tions to the Federal Commttnica-tions Commission.

Aggregate industry revenues ofS105.8 million were more thantriple the $34.3 million for 1949.Although the four networks (in-cluding their' 14 owned and oper-ated stations ) accounted for morethan half ($55.0 million) of thetotal industry revenLles, they re-ported a loss of $9.0 miliion, whichresulted from a $10.5 million deficitfrom network operations and a $1.5million income (befole Federal in-come tax) from their ou'ned andoperated stations. Ninety-three

Live qction?

Sync-soundlSemi-onimqtion?

Mechqnicol onimqtion?Full qninrqtion?

Stop-motion?Slidefilm?

Animotic strip?Slides?

Telops?

Let us help you toke the question-morks out of

ony TV comrnerciol problem you hove.

We invite you to inspect our complete focilitiesond see o somple reel of our film spots.

Ta*n7:2,,* , Inc.

2S4 l'r/. 54Tx ST., NE\ / YORK 19. N

other stations r:epolted an aggle-gate income (before income tax)of $1.1 million. The industry as ar.vhole thus had a $7.9 million lossin 1950 as compared to a $25.3million loss the previorrs yeat'.

Molority Show Profit

Fifty-four of the nation's tele-vision stations reported profltableoperation during 1950 rvith betterthan half of these reporting income(before Federal income tax) of$100,000 or more. Eight stationsreported earnings in excess of$400.000. Stations in communitiesinter-connected for network pro-gramming generally fared bettelthan those in non-interconnectedcommunities. Forty-seven out of79 stations in the inter:connectedgroup reported profitable operationsas against only 7 profitable out of27 in the non-interconnected grollp.Profitable station operation wasmcst prevalent in the intercon-nected one - station communitieswhere 20 out of 29 stations reooltedzr profit status.

Average income (before Federalincome tax) of the 29 stations inthe one-station interconnected com-munities was $90,000. However,the average income of 15 of thesestations which were on the air andinterconnected for the full year1950 was $174,000, whereas, 11 full-year stations in non-interconnectedone-station communities reportedlosses averaging $29,000 pel sta-tion. Similarly, 5 stations in op-eration and interconnected for thefull year in two-station communi-ties reported proflts (before incometax) averaging $105,000 as com-pared to an average loss of $143,-000 for 6 full-year stations in non-interconnected two-station commll-nities. Overall, the 79 stations ininterconnected communities re-ported profits (before income tax)of $5.7 million while the 27 stationsin non-interconnected communitiesreported an aggregate loss of $3.0million.

Income Up 50 Percent

Netr,r'orks including all owned andoperated stations reported an ag-gregate income from combined AMand TV operations of $9.6 million(before income tax) during 1950,an increase of 50 percent over the$6.4 million income for' 1949. Thenetlvorks' income from AM opera-tions r:emained substantially thesame ($18.6 million) while TVlosses were reduced from $12.1 to$9.0 million. Revenues from net-rvork AM operation incteased flom$105.3 to $106.5 million at the sametime network TV revenues rosefrom $19.3 in 1949 to $55.0 millionin 1950.

In Los Angeles with 27 aural and7 TV stations, TV accounted for39.7 percent of the total revenuesof the metropolitan district. In Co-lumbus, Ohio, rvith 4 aural and 3TV stations, the comparable percentattributable to TV was 38.5. Otheraleas where TV obtained aboutone-third of the total communitybroadcast revenues were : Baltimore,37.7 percent; Philadelphia, 37.2percent; Neu' York, 33.5 percent;and Chicago, Cleveland, and Wash-ington, D. C. between 30 and 33percent. Overall, TV revenues inthe 63 markets rvith operating TVstations were better than one-fourth (26"/o) of total aural andTV revenues in those communities.ln 1948, the comparable figure forTV in 28 TV areas was 4.4 percent;in 1949, in 58 TV areas it rvas 10.7percent.

Despite the sizeable gains in TVrevenues in 1950, increases werealso indicated in the revenues ofaural stations in the TV communi-ties. A 6.6 percent increase in rev-enues was reported by the 505 auralstations located in the 63 TV mar-kets.

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22

COlumbur 5-7621

TELEVISER

TV Stat on Revenues

Top SI 00 Million

TOTAL revenues for the television broadcast industry topped

the $100 million mark in 1950, and half of the 107 television stations reported profitable operation, ac- cording to preliminary estimates submitted by all networks and stations to the Federal Communica- tions Commission.

Aggregate industry revenues of $105.8 million were more than triple the $34.3 million for 1949. Although the four networks (including their 14 owned and operated stations! accounted for more than half i$55.0 million) of the total industin?. revenues, they reported a loss of $9.0 million, which resulted from a $10.5 million deficit from network operations and a $1.5 million income (before Federal income tax) from their owned and operated stations. Ninety-three

2

o o e e

Live action? Sync-sound?

Semi-animation?

Mechanical animation?

Full animation? Stop-motion?

Slidefilm?

Animatic strip?

Slides?

Telops?

Let us help you take the question-marks out of any TV commercial problem you have.

We invite vou to inspect our complete facilities and see a sample reel of our film spots.

Inc.

254 W. 54TH S- NEW YORK 19, N Y. COIumbus 5-7621

other stations reported an aggregate income (before income tax! of $1.1 million. The industry as a whole thus had a $7.9 million loss in 1950 as compared to a $25.3 million loss the previous year.

Majority Show Profit

Fifty-four of the nation's television stations reported profitable operation during 1950 with better than half of these reporting income (before Federal income tax) of $100,000 or more. Eight stations reported earnings in excess of $400,000. Stations in communities inter-connected for network programming generally fared better than those in non-interconnected communities. Forty-seven out of 79 stations in the interconnected group reported profitable operations as against only 7 profitable out of 27 in the non-interconnected group. Profitable station operation was most prevalent in the interconnected one - station communities where 20 out of 29 stations reported a profit status.

Average income (before Federal income tax) of the 29 stations in the one-station interconnected communities was $90,000. However, the average income of 15 of these stations which were on the air and interconnected for the full year 1950 was $174,000, whereas, 11 full- year stations in non-interconnected one-station communities reported losses averaging $29,000 per station. Similarly, 5 stations in operation and interconnected for the full year in two-station communities reported profits (before income tax) averaging $105,000 as compared to an average loss of $143,- 000 for 6 full-year stations in non- interconnected two-station communities. Overall, the 79 stations in interconnected communities reported profits (before income tax) of $5.7 million while the 27 stations in non-interconnected communities reported an aggregate loss of $3.0 million.

Income Up 50 Percenr Networks including all owned and

operated stations reported an aggregate income from combined AM and TV operations of $9.6 million (before income tax) during 1950, an increase of 50 percent over the $6.4 million income for 1949. The networks' income from AM opera- tionM remained substantially the same ($18.6 million) while TV losses were reduced from $12.1 to $9.0 million. Revenues from network AM operation increased from $105.3 to $106.5 million at the same time network TV revenues rose from $19.3 in 1949 to $55.0 million in 1950.

In Los Angeles with 27 aural and 7 TV^tations, TV accounted for 39 7 percent of the total revenues of the metropolitan district. In Co- lumbus, Ohio, with 4 aural Snd 3 TV stations, the comparable percent attributable to TV was 38.5. Other areas where TV obtained about one-third of the total community broadcast revenues were: Baltimore, 37.7 percent; Philadelphia, 37.2 percent; New York, 33.5 percent; and Chicago, Cleveland, and Wash- ington, D. C. between 30 and 33 percent. Overall, TV revenues in the 63 markets with operating TV stations were better than one- fourth (26%) of total aural and TV revenues in those communities. In 1948, the comparable figure for TV in 28 TV areas was 4.4 percent; in 1949, in 58 TV areas it was 10.7 percent.

Despite the sizeable gains in TV revenues in 1950, increases were also indicated in the revenues of aural stations in the TV communities. A 6.6 percent increase in revenues was reported by the 505 aural stations located in the 63 TV markets.

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march, 1951 • seventh year fifty cents in this issue …

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