OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation,...

19
*&frert ftornn 85J Ri.verslde Dr. t{*r T*rk 52r ll, t, ry Jr These are some oI the television adver' tisers using NSS TV Film Commercials to sell America's fastest $rowin$ market! An evcr-increasing group of national advertisers, agencies and networks are benefitting by more than 30 years of NSS experience in film production ...A vital factor in creat. ing outstanding commercials, openings and titles for television! . . . the kind of ShoustnanshiP on film fllaf produces results! Special effects, animation, trick photography, original lettering, especially suited to the mood of gozr sales message . . . are techniques applied by skilled NSS craftsmen ..whoassure your product audience impact...Product idcntification and MORE SAI,BS! OCTOBER, 1951 SEVENTH YEAR FIFTY CENTS IN THIS ISSUE Television Promotion The Television Quiz Future of TV Networks '<AVIO vm- * m J jotmal te?ew4u)K Alfred Roman 855 Rivereiie Dr. Net? Yvrk 32, N. Y. # I ^ i « 1 jo i 'Vt I SZf 2% v . * These are some of the television adver- tisers using NSS TV Film Commercials to sell America's fastest growing market! An ever-increasing group of national advertisers, agencies and networks are benefitting bv more than 30 years of NSS experience in film production... A vital factor in creat- ing outstanding commercials, openings and titles for television! . . . the kind of Showmanship on film that produces results! Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales message . . . are techniques applied by skilled NSS craftsmen . . . who assure your product audience impact . . . product identification and MORE SALES! mmm.,Qcb€€n servicc \J pmzf 0a*r of ntetoeusrov 1 600 BROADWAY NEW YORK 19 N.Y. CIRCLE 6-5700 W/ www.americanradiohistory.com

Transcript of OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation,...

Page 1: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

*&frert ftornn85J Ri.verslde Dr.t{*r T*rk 52r ll, t,

ry

JrThese are some oI the television adver'

tisers using NSS TV FilmCommercials to sell America's fastest

$rowin$ market!An evcr-increasing group of national

advertisers, agencies and networksare benefitting by more than 30 years

of NSS experience in filmproduction ...A vital factor in creat.

ing outstanding commercials,openings and titles for television!

. . . the kind of ShoustnanshiP

on film fllaf produces results!

Special effects, animation, trickphotography, original

lettering, especially suited to

the mood of gozr sales

message . . . are techniquesapplied by skilled NSS

craftsmen ..whoassureyour product audience

impact...Productidcntification and

MORE SAI,BS!

OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE

Television Promotion

The Television Quiz

Future of TV Networks

'<AVIO

vm- *

m

J

jotmal te?ew4u)K

Alfred Roman 855 Rivereiie Dr. Net? Yvrk 32, N. Y.

#

I

^ i « 1 jo i

'Vt I SZf 2%

v ■. *

These are some of the television adver- tisers using NSS TV Film

Commercials to sell America's fastest growing market!

An ever-increasing group of national advertisers, agencies and networks

are benefitting bv more than 30 years of NSS experience in film

production... A vital factor in creat- ing outstanding commercials,

openings and titles for television! . . . the kind of Showmanship

on film that produces results! Special effects, animation, trick

photography, original lettering, especially suited to

the mood of your sales message . . . are techniques

applied by skilled NSS craftsmen . . . who assure

your product audience impact . . . product identification and MORE SALES!

mmm.,Qcb€€n servicc \J pmzf 0a*r of ntetoeusrov

1 600 BROADWAY NEW YORK 19 N.Y.

CIRCLE 6-5700

W/ www.americanradiohistory.com

Page 2: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

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Electron tubcs are the ncrve encls ofmilitary intelligence -in systemsset up and nraintained by RCA SeruiceCompany ficld engineers,

Tlrey rvork with systems of detection, suchas radar. They help ships and planesnaaigate with loran and shoran. These en-

gineers are the link between research de-veloDments made at RCA Laboratories-and America's military strength.

The number of RCA ffeld engineers has

tripled since World War II. And they servewhere needed. wherever an electron tube's"military mind" can be of military use.

***See the latest uonilers of rad,io, teleoision, and' elec-Ironics at RCA Exhibition Eall, 36 West 49th Street,N.L Admission is free, Radio C orporotion of Americtt,RCA Building, Rad,io City, N. Y. 20, N. Y.

ffi#* fuonnbmlframilfiqmhdWith the rapid advance of airplanes,tanks, fast ships, and mechanizedweapons of war, a swift, sure means ofcommunication and detection is as im-portant as are the new weapons them-selves. It is provided-by electrontubes and electronics.

So important is this area of military in-telligence that RCA Service ffeld engi-neers-here and abroad-have lifted theireffolts to new peaks. Working rvith ourArmed Forces. thev install and maintainsuch communications sgstems as short-wave radio and portable radiotelephones.

RADTO CORPORAT]OU o{ AfrfERtCAWor/d Leader in Radb - Firsf n Te/erkrbn

Practical training of military personnel-in classcs, f.ctory, and the field-is a basicpart of RCA Service Company's workrvith our Amred Forces.

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Electron tubes are the nerve ends of military intelligence—in systems set up and maintained by RCA Service Company field engineers.

iv/rt a mi/rfary m/nc/

With the rapid advance of airplanes, tanks, fast ships, and mechanized weapons of war, a swift, sure means of communication and detection is as im- portant as are the new weapons them- selves. It is provided —by electron tubes and electronics.

So important is this area of military in- telligence that RCA Service field engi- neers—here and abroad—have lifted their efforts to new peaks. Working with our Armed Forces, they install and maintain such communications systems as short- wave radio and portable radiotelephones.

They work with systems of detection, such as radar. They help ships and planes navigate with loran and shoran. These en- gineers are the link between research de- velopments made at RCA Laboratories— and America's military strength.

The number of RCA field engineers has tripled since World War II. And they serve where needed, wherever an electron tube s "military mind" can be of military use.

See the latest wonders of radio, television, and elec- tronics at RCA Exhibition Hall, S6 West 49th Street, N.Y. Admission is free. Radio Corporation of America, RCA Building, Radio City, N.Y. 20, N.Y.

P «* «

v,

Practical training of military personnel— in classes, factory, and the field—is a basic part of RCA Service Company's work with our Armed Forces.

J7JIJ9JO COnPanATMOM of jimemcal

IVor/cf Aectc/er /n T^ac/io — T^'rsf in ~7e/efis/on

www.americanradiohistory.com

Page 3: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

t-October, l95l VoL 8, No. 8

TeleviserTHE JOT'RNAI OF TETHIIISION

CONTENTS

TELEVISION PROMOTION

By Robert E. Horris

PLANNTNG AND PRODUCTNG THE TV QUIZ-Port llBy Chorles Adams

THE FUTURE OF TV NETWORKS

TERMINOLOGY FOR VIDEO EFFECTS

By Andrew N. McLellan

THE CASE FOR NEW YORK FILM PRODUCTION

By Williom Burnhqm

CHIEF PTANN'NG

By Paul F.Wittlig

SUMMER VIEWING

ROBERT E. HARRISManaging Editor

Inge Price .. ECitoriol Assistant George Webster. .......Ailoertising llep.Irred Jackson Circulation Sylvia Sklar .Business Manager

John A. Bassett and Co.,. ...Wcst Coast Adeertising Representatioe101 McKinley Bld,g., 3757 Wilshire Blvd., Los Angeles, California

Televiser New York Offices: 1780 Bloadwav. New York l9 PLaza 7-3723

t5

T6

T8

I9

20

IRWIN A. SHANEDdilor ard Publisher

Entered as second class matter, Oct. 13, 1944. elsewhere, payable in U. S, Currency). Advcr-Re-entered as 2nd class matter, at the post tising ratcs upon requcst. published monthly,office at New York, N. Y,, under the Act of\Iarch 3, 1879. Subscription Rate, 95 per ycar exccpt July and August' bv Television Publica-(in the U. S. and territories, and Canada; 96.00 tions, 1780 Broadway, New York 19, N. Y,

ocToBER, t95l

Entire Contents Copyrighted, 1951

so\Ktty

*I Covtn IHt WAttRtRoNlHER INI,IIIED MANTTT'TM HAVE IIIRA}ITAITANTIC ilITRRY.GO.ROUNDWO'IIAN II{ IHE DARKITIISIAKEN I{EIREISTRANKII 8 JOHNI{IE

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Octo&er, 1951 Vol. 8, No. 8

T deviser

THE JOURNAL OF TELEVISION

CONTENTS

TELEVISION PROMOTION

By Robert E. Harris . . .

PLANNING AND PRODUCING THE TV QUIZ—Part II

By Charles Adams

THE FUTURE OF TV NETWORKS 75

TERMINOLOGY FOR VIDEO EFFECTS

By Andrew N. McLellan

THE CASE FOR NEW YORK FILM PRODUCTION

By William Burnham

CHIEF PLANNING

By Paul F. Wntlig

16

18

19

SUMMER VIEWING 20

1RWIN A. SHANE Editor and Publisher

ROBERT E. HARRIS Managing Editor

luge Price Editorial Assistant George Webster Advertising Rep. Fred Jackson Circulation Sylvia Sklar Business Manager

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

elsewhere, payable in U. S. Currency). Adver- tising rates upon request. Published monthly, except July and August, by Television Publica-

(in the U. S. and territories, and Canada; $6 00 tions, 1780 Broadway, New York 19, N. Y.

Entire Contents Copyrighted, 1951

MICHEIE STEVE - PETER

For ^

use tyy11

JIMMY ST*WART

I COVER THE WATERFRONT HER ENUSTED MAN LET 'EM HAVE IT TRANSATLANTIC MERRY-GO-ROUND^ WOMAN IN THE DARK MISTAKEN HEIRESS FRANKIE & JOHNNIE ROBERT

young

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39 TOP WESTER* '"'"/'"S the range buster

maynard • SMITH ball

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r Write for catalog ol Features, Westerns, Serials. Cartoons. NCOCPORAtEO-

lomnioniuEflLTH PAi/m and S/e/ewAtan, tfne. 723 Seventh Avenue, New York 19, N.Y.

OCTOBER, 1951 3

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Page 4: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

aanrovle Drrces'a

On June 15, almost 29,000 people inseveral cities watched a heavyweight fighton movie screens as television cameras atringside brought the event from MadisonSquare Carden. And Big Screen Televisionmade its bow to the public over the net-

work provided by the Long Lines Depart-ment of the American Telephone andTelegraph Company.

Since then other fights have gone overthe Bell System's television network. Andfuture plans call for more events going tomore theaters, reaching more people.

This new kind of showmanship is one

more example of the use made of the BellSystem's network. . . facilities made pos-

sible by the experience and imagination ofBell engineers. The equipment for these

facilities is specialized and expensive.Much of it must be precise and delicate, yet

sturdy and long-lasting.

Last year the Bell System doubled itstelevision channels, bringing them up toalmost 23,500 miles. The value of coaxialcable, radio relay, and associated equip-ment used for television purposes is nearly

$85,000,000. Yet the service is supplied ata very moderate rate.

PROVIDING TRANSMISSION CHANNELS FOR THE RADIO AND TELEVISION INDUSTRIES TODAY AND TOMORROW

4

BELL TELEPHONE SYSTEM ffi

29,OOO RINGSIDE SEATS-aI

TELEVISER

29,000 RINGSIDE SEATS — at movie prices

On June 15, almost 29,000 people in

several cities watched a heavyweight fight on movie screens as television cameras at

ringside brought the event from Madison Square Garden. And Big Screen Television

made its bow to the public over the net-

work provided by the Long Lines Depart-

ment of the American Telephone and Telegraph Company.

Since then other fights have gone over the Bell System's television network. And future plans call for more events going to

more theaters, reaching more people.

This new kind of showmanship is one

more example of the use made of the Bell System's network... facilities made pos- sible by the experience and imagination of

Bell engineers. The equipment for these facilities is specialized and expensive.

Much of it must be precise and delicate, yet

sturdy and long-lasting.

Last year the Bell System doubled its television channels, bringing them up to

almost 23,500 miles. The value of coaxial cable, radio relay, and associated equip- ment used for television purposes is nearly $85,000,000. Yet the service is supplied at

a very moderate rate.

BELL TELEPHONE SYSTEM

PROVIDING TRANSMISSION CHANNELS FOR THE RADIO AND TELEVISION INDUSTRIES TODAY AND TOMORROW

4 TELEVISER

www.americanradiohistory.com

Page 5: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

Television PromotionAn analysis of the types ol TY promotionolmoteriol being used hy stations ond networks-the selling points they incoryorote-the think-ing ol men hehind promotion activity.

TELEVISION promotion activi-I ties are making fundamentalcontributions to the growth of themedium and to the profltable useof it by advertisers.

Material on TV is prepared anddistributed by various network de-partments, stations, station reps,ad agencies, research firms and pro-gram packagers. Promotions takemany forms and describe a varietyof selling points. All the material,however, can be separated intothree basic types: sales promo-tion, program audience promotionand merchandising.

Sales promotion attempts to sella program, the TV medium, or atime segment. This is done viafact sheets on prog:rams and avail-abilities, detailed program presen-tation books, general presentationbooks (on facilities, program cate-gories, etc.), speciflc presentationsfor a client, and space advertising.

Program audience promotion util-izes on-the-air plugs, space adver-tising, displays, promotion giftsand stunts.

Merchandising generally involvesco-op advertising and point of saledisplays. All three types of promo-tion also rely heavily upon a widevariety of direct mail pieces.

The majority of station and net-work promotion efforts come underthe sales promotion category. Theselling points they deal with are:program descriptions, time values,facilities, market, coverage, suc-cess stories, personalities or stars,costs, mail pull, promotional ser-vices and lists of their nationalsponsors.

ocToBER, t95t

by Robert E. Hqrris

At the present time more ef-fort is being devoted to promotingAM than TV. One station reportsthat only 30% of. its promotion bud-get is for television. However, asmore stations come into markets,more TV sales promotion activitywill certainly become evident.

So that these promotion effortsmight be made as effective as pos-sible, we have just conducted asurvey of stations and networ*s tosecure a cross-section of promo-tional thinking and to study ex-amples of promotional material cur-rently in use.

Progrom Foct Sheets

The standard promotion piece,distributed by virtually all stations,networks and reps, is the program

Speciol Televiser Report

rj{@dr::s6d6idffi "lbt$.i ,ier;tl

"r,, ',..Jrir'.. ":: qs {r ir 6reet

fact sheet. These sheets are usuallymimeographed, often on coloredpaper, and many have distinctiveletterheads. The name of the showis stated, the time, a descriptionof the format, the talent, and usu-ally the cost. Some sheets also re-produce a photo of the show. Othersstate to whom the show will ap-peal, what programs precede andfollow the given show, what themail pull is, what is its history,and, if open to participation, whoare past or current sponsors. Oneagency time buyer stated that de-tailed descriptions of programs areextremely valuable to her, evenrvhen buying station breaks, asthey indicate to her the type of au-dience she is reaching.

Progrom Presentotions

In addition to these short factsheets, many stations prepare moreeiaborate presentation books oncertain programs. WOR-TV has astandard glossy cover for all suchprogram presentations. They wereprinted in large quantity, whichbrought down the cost, and areavailable as a familiar cover. rec-ognized and remembered by theagencies. The material inside in-cludes a glossy still and informa-tion on the program suitably ar-ranged and offset printed.

Some program presentations goin for particularly attractive cov-ers. Such a one is being distributedby KECA-TV, Los Angeles, on Ad-oentures In Food,. Its hostess, GraceLawson, is described as thoroughlyqualified to demonstrate the prod-

5

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Fact Sheet

Special Televiser Report

Television Promotion

An analysis of the types of TV promotional

material being used by stations and networks—

the selling points they incorporate—the think-

ing of men behind promotion activity.

by Robert E. Harris

TELEVISION promotion activi- ties are making fundamental

contributions to the growth of the medium and to the profitable use of it by advertisers.

Material on TV is prepared and distributed by various network de- partments, stations, station reps, ad agencies, research firms and pro- gram packagers. Promotions take many forms and describe a variety of selling points. All the material, however, can be separated into three basic types: sales promo- tion, program audience promotion and merchandising.

Sales promotion attempts to sell a program, the TV medium, or a time segment. This is done via fact sheets on programs and avail- abilities, detailed program presen- tation books, general presentation books (on facilities, program cate- gories, etc.), specific presentations for a client, and space advertising.

Program audience promotion util- izes on-the-air plugs, space adver- tising, displays, promotion gifts and stunts.

Merchandising generally involves co-op advertising and point of sale displays. All three types of promo- tion also rely heavily upon a wide variety of direct mail pieces.

The majority of station and net- work promotion efforts come under the sales promotion category. The selling points they deal with are: program descriptions, time values, facilities, market, coverage, suc- cess stories, personalities or stars, costs, mail pull, promotional ser- vices and lists of their national sponsors.

At the present time more ef- fort is being devoted to promoting AM than TV. One station reports that only 30% of its promotion bud- get is for television. However, as more stations come into markets, more TV sales promotion activity will certainly become evident.

So that these promotion efforts might be made as effective as pos- sible, we have just conducted a survey of stations and networks to secure a cross-section of promo- tional thinking and to study ex- amples of promotional material cur- rently in use.

Program Fact Sheets The standard promotion piece,

distributed by virtually all stations, networks and reps, is the program

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Fact Sheet

fact sheet. These'sheets are usually mimeographed, often on colored paper, and many have distinctive letterheads. The name of the show is stated, the time, a description of the format, the talent, and usu- ally the cost. Some sheets also re- produce a photo of the show. Others state to whom the show will ap- peal, what programs precede and follow the given show, what the mail pull is, what is its history, and, if open to participation, who are past or current sponsors. One agency time buyer stated that de- tailed descriptions of programs are extremely valuable to her, even when buying station breaks, as they indicate to her the type of au- dience she is reaching.

Program Presentations

In addition to these short fact sheets, many stations prepare more elaborate presentation books on certain programs. WOR-TV has a standard glossy cover for all such program presentations. They were printed in large quantity, which brought down the cost, and are available as a familiar cover, rec- ognized and remembered by the agencies. The material inside in- cludes a glossy still and informa tion on the program suitably ar- ranged and offset printed.

Some program presentations go in for particularly attractive cov- ers. Such a one is being distributed by KECA-TV, Los Angeles, on Ad- ventures In Food. Its hostess, Grace Lawson, is described as thoroughly qualified to demonstrate the prod-

OCTOBER, T95T 5

www.americanradiohistory.com

Page 6: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

uct. The presentation states: "Ifyou can talk about it in the kitchen

-and demonstrate it in the kitchen

-Grace Lawson will sell it for you

in her KECA-TV kitchen."KTTV, Los Angeles, presents

their program presentation clippedto a file folder. It is freely illus-trated with large offset photographsof the performers in action and,where possible, includes critical re-views of the show.

Often a strong personality willbe accented in the program presen-tation. An ABC-TV presentationfor the new Dagrnar shorv is a goodexample. It states that she is themost talked about girl in America,featured and photographed in themagazines, quoted and chronicledin the newspapers, and mentionedrepeatedly on national broadcasts.She is reportedly deluged with over2000 fan letters a week, some ad-dressed simply, "Dagmar, U, S. A."After the first nine pages devotedto the personality, the program isdescribed in the next six pages. Oneof the sales points made is that theprogram is a valuable property be-cause it is "fresh to viewers andrrever before associated with an-other product."

NBC-TV recently issued a 33-page presentation on the' KateSmith Evening Hour. They de-scribe the program highlights, dis-cuss the time period and iomposi-tion of audience, estimate a largestation lineup, estimate the size ofaudience based on her previous af-ternoon ratings, describe the saleseffectiveness of her daytime show,

6

state the low cost of sponsorshiP(shared by four sponsors), indicatethe program costs less than printedmedia, and mention merchandisingand promotion possibilities. As sup-plementary data it is claimed thatNBC is first in programs, audience,among advertisers and in coverage.

Other Presentotions

Many stations prepare detailedinformation manuals covering racil-ities, rates, miscellaneous chargesand specifications. One such book,put out by WXYZ-TV, Detroit, firstdescribes the station and its per-sonnel, stating that jt offers: a)best local programs and successstories; b) top local television per-sonalities; c) aggressive, unique"know how"; d) sales promotionand advertising; and e) merchan-

dising aid. It describes some toprated local TV shows producedby the station and reproduces atr:ade magazine article on WXYZ-TV.

In a section devoted to technicalinformation, the station's facilitiesare described, giving detailed in-formation on studi<ls, sets andprops, rear projection processscreens. cameras, director service,dressing rooms, fllm studio and re-mote facilities. Spot commercialsare described with specificationsclearly illustrated. Details on slidesand projectors are gone into thor-oughly. Charges for additional fa-cilities and services are itemized.

Coverage is described and illus-trated with maps. Detailed factsconcerning their market are stated,including a special breakdown of

retail grocery stores in the Detroitarea.

WTVJ, Miami, has prepared atwo color folder which gives sta-tion personnel, network affiliations,station rep, clients, facilities andbrief description of remote opera-tions. It reproduces several lettersindicating sales successes. Urrfold-ed, it presents a large coverage mapwith detailed market data. Theirrate card is printed on the back ofthis folder. Quite a few stationshave printed two page folders withcoverage maps and data.

A general presentation book of adifferent nature was conceived byWTVR, Richmond. It is "A Tele-vision Primer for Advertisers." Itdescribes the television medium as"a fresh, dramatic means of ad-vertising that combines all previousforms of advertisihg media intoone powerful sales force." It dis-cusses how the advertiser may maketelevision work for him. It ex-plains in detail how live and filmcommercials are prepared and ex-ecuted. Included also is a glossaryof television terms.

A special folder devoted to TVfilms was prepared by WFAA-TV,Dallas. It shows how a superiorfilm is produced, discussing theshooting script, photography, ani-mation, processing, editing, soundrecording and special effects.

"The Man Behind The Counter"is a unique presentation conceivedby WKRC-TV, Cincinnati, and de-scribes a plan to deliver for the ad-vertiser the cooperation and good

l

Program Presdntati.on

Cot,erage Folder

General Presentation

TELEVISER

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Program Presentation

uct. The presentation states: "If you can talk about it in the kitchen —and demonstrate it in the kitchen —Grace Lawson will sell it for you in her KECA-TV kitchen."

KTTV, Los Angeles, presents their program presentation clipped to a file folder. It is freely illus- trated with large offset photographs of the performers in action and, where possible, includes critical re- views of the show.

Often a strong personality will be accented in the program presen- tation. An ABC-TV presentation for the new Dagmar show is a good example. It states that she is the most talked about girl in America, featured and photographed in the magazines, quoted and chronicled n the newspapers, and mentioned

repeatedly on national broadcasts. She is reportedly deluged with over 2000 fan letters a week, some ad dressed simply, "Dagmar, U. S. A." After the first nine pages devoted to the personality, the program is described in the next six pages. One of the sales points made is that the program is a valuable property be- cause it is "fresh to viewers and never before associated with an- other product."

NBC-TV recently issued a 33- page presentation on the- Kate Smith Evening Hour. They de- scribe the program highlights, dis- cuss the time period and Composi- tion of audience, estimate a large station lineup, estimate the size of audience based on her previous af- ternoon ratings, describe the sales effectiveness of her daytime show,

state the low cost of sponsorship (shared by four sponsors), indicate the program costs less than printed media, and mention merchandising and promotion possibilities. As sup- plementary data it is claimed that NBC is first in programs, audience, among advertisers and in coverage.

Other Presentations Many stations prepare detailed

information manuals covering lacil- ities, rates, miscellaneous charges and specifications. One such book, put out by WXYZ-TV, Detroit, first describes the station and its per- sonnel, stating that it offers: a) best local programs and success stories; b) top local television per- sonalities; c) aggressive, unique "know how"; d) sales promotion and advertising; and ^ merchan-

1 1

nm i» ||;" itotgft* IMP

Coverage Folder

dising aid. It describes some top rated local TV shows produced by the station and reproduces a trade magazine article on WXYZ- TV.

In a section devoted to technical information, the station's facilities are described, giving detailed in- formation on studios, sets and props, rear projection process screens, cameras, director service, dressing rooms, film studio and re- mote facilities. Spot commercials are described with specifications clearly illustrated. Details on slides and projectors are gone into thor- oughly. Charges for additional fa- cilities and services are itemized.

Coverage is described and illus- trated with maps. Detailed facts concerning their market are stated, including a special breakdown of

retail grocery stores in the Detroit area.

WTVJ, Miami, has prepared a two color folder which gives sta- tion personnel, network affiliations, station rep, clients, facilities and brief description of remote opera- tions. It reproduces several letters indicating sales successes. Unfold- ed, it presents a large coverage map with detailed market data. Their rate card is printed on the back of this folder. Quite a few stations have printed two page folders with coverage maps and data.

A general presentation book of a different nature was conceived by WTVR, Richmond. It is "A Tele- vision Primer for Advertisers." It describes the television medium as "a fresh, dramatic means of ad- vertising that combines all previous forms of advertising media into one powerful sales force." It dis- cusses how the advertiser may make television work for him. It ex- plains in detail how live and film commercials are prepared and ex- ecuted. Included also ii^Ji glossary of television terms.

A special folder devoted to TV films was prepared by WFAA-TV, Dallas. It shows how a superior film is produced, discussing the shooting script, photography, ani- mation, processing, editing, sound recording and special effects.

"The Man Behind The Counter" is a unique presentation conceived by WKRC-TV, Cincinnati, and de- scribes a plan to deliver for the ad- vertiser the cooperation and good

SP0BT5 ARE ON

NEW YORK'S

GREATEST TV

fj' spBrts station

General Presentation

6 TELEVISER

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Page 7: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

will of local grocers. They describehow they build store traffic withdaily announcements, programs andprize contests which promoteneighborhood stores cooperating bydisplaying and pushing tire saleof weekly "Key Item" products ad-vertised on WKRC-TV. The pres-entation contains examples of post-ers, newspaper ads, publicity stor-ies, promotional announcements, di-rect mailings to dealers, etc., thatare used "to get that man behindthe counter behind the product."

A general presentation promot-ing Greensboro, N. C., as a televi-sion market is being distributed byWFMY-T\I in a file folder. Itstates that Greensboro is first inretail sales pel household of allU. S. cities with TV stations, andtheir station covers the most popu-lous 50-mile radiuS in the entireSoutheast. Charts and diagramsare used to drive home these points.Included in the folder also are sev-eral letters from advertisers indi-cating their satisfaction with thestation.

Stressing a programming pat-tern, WOR-TV circulated an at-tractive presentation depictingtheir six-day-a-week sports sched-ule. The line up of shows is de-scribed, a list of advertisers thathave used WOR sports successfullyis given, and the advertiser is in-vited to "snare the sports showsthat will snare the giant's share ofNew York's millions of sportsrans."

Occasionally an individual pres-entation for a sponsor will be pre-pared. It is usually typewritten

Pn00ntr scltro|Jt tt.pl. 16 throcsh S.pt. 22, r95r

rather than printed. It discussesa certain program on at a specifictime and states in precise termswhy it is particularly suitable forthat client. Artwork is often usedto make the presentation as attrac-tive as possible.

Personol Presentstions

All the promotion material de-scribed thus far is carried by sales-men in kits as ammunition. Localmaterial is delivered by the sta-tion's own salesmen. National sta-tion reps make personal deliveriesof the material concerning them.The networks often have their sales-men arrange special meetings inthe offices of the agency or client,so that.a representative of the salespromotion department can delivera more elaborate presentation. Such

"'Qtneza!To ..th d S. h.h.ilou i'F.r ot

Ll.vi6. iicB . $ot.Y tqd br

i^ .&[ d yd nYrtstsr .dr ' . . fr.

d.ilr tspd. 9i DLEo sfroP;tg N.'r

.id h.il d S '..h

[.'. h.h d

k- $.1.y i*r b!. . . . thq?.

touu b u.. tu d.h.4.1..,'ts*.lb.n. br t.u Y.d.ia tsd. h ii P d

Lyd... ii.lud. h ld rry d.i dS.

lo[.i^g Fodud rlLh... r.sJ.d.d'

vdid o. sh.t.t R€.d lid.FJ.nl

clever and crisp and is devoted toeither program or market promo-tion. Usually a short printed notewill be clipped to the folder. Agood example of such a note ac-companied a CBS folder on StrangeAdaenture, a suspenseful fllm ser-ies. It read, "The storf that unfoldsas you turn the page should giveyou quite a start-a ltead-start onyour competitors, if you follow upby calling me immediately for moreof the inside facts about StrangeAd,uentu,re."

A provocative mailing piece pre-pared by KECA-TV is folded soas to reveal only the bare legs oftwo shapely females. Copy reads," the most popular strip showin L. A." On opening the folder,the ladies are revealed to be amplyclothed in futuristic costumes. Thefolder plugs Spoce Patrol, the mostpopular TV strip show (serial, thatis) in L. A., according to certainHooperatings.

WHIO-TV, Dayton, reprinted inbooklet form a series of illustratedverse from their trade ads. Oneexample goes:

"With the gals, MacEvally wasnever inept,

"But the one that he fell forwould never accept.

"But at last he prevailed: His suc-cess was terrific !

"He wangled one ticket to seeSouth Pacific.

"Right show-and right audi-ence-won his objective.

"With your Dayton sales' youshould be as selective!"

Both regulation U. S. postalcards and special jumbo post cardsare used for various promotional

6.lls{. atc,k!d6...

l,rn SoiddPrdrt...

lbrlt !..d ,..lft P* lldl6 ,. .

fa.ttdcf C,.I6.., ?ohl lm kili ho&

SalnilTd,.. Dilf !!dlE d.thtl p Ftu.t bn b. -.t t&5c

,h. rnlAfv t* Datut' Iht 2t'1

M erch.andising M ailing

presentations are made asas possible and consist of:

a) flip=overs-zOtt x 30"trated pads,

visual

illus-

b) display gsrfls-gQ'/ x 40" il-lustration boards (Both flipoversand cards contain'original artworkand large hand lettering),

c) colored slides,d) motion picture film with

sound.

Direct Moil Pieces

A great variety of material isalso mailed out to agencies and ad-vertisers. It includes folders, bro-chures, post cards, success stories,program schedules, special publi-cations and newsletters, and manyother miscellaneous pieces.

The folders sent out by the net-u'orks and some stations earry thesame modern style drawings andlayouts that distinguish their spaceadvertisements. Copy usually is

Wintlow Displag

lLl, Pr't P.( f, C C.L .

l.l.vLion ..r (fu.llorion in rt.

Ii!;f#lgl,zrs

s0uI[v{tsl f0RD stttstaiaDox aND tAJEtAtt lcoaas

[.15 - n,20 t,t. tuNoaY

il$m rxl ttttlltl! tflflltj rril tB[tN

Program Sched,ute

OCTOBER, I95I

will of local grocers. They describe how they build store traffic with daily announcements, programs and prize contests which promote neighborhood stores cooperating by displaying and pushing the sale of weekly "Key Item" products ad- vertised on WKRC-TV. The pres- entation contains examples of post- ers, newspaper ads, publicity stor- ies, promotional announcements, di- rect mailings to dealers, etc., that are used "to get that man behind the counter behind the product."

A general presentation promot- ing Greensboro, N. C., as a televi- sion market is being distributed by WFMY-TV in a file folder. It states that Greensboro is first in retail sales per household of all U. S. cities with TV stations, and their station covers the most popu- lous 50-mile radius in the entire Southeast. Charts and diagrams are used to drive home these points. Included in the folder also are sev- eral letters from advertisers indi- cating their satisfaction with the station.

Stressing a programming pat- tern, WOR-TV circulated an at- tractive presentation depicting their six-day-a-week sports sched- ule. The line up of shows is de- scribed, a list of advertisers that have used WOR sports successfully is given, and the advertiser is in- vited to "snare the sports shows that will snare the giant's share of New York's millions of sports fans."

Occasionally an individual pres- entation for a sponsor will be pre- pared. It is usually typewritten

tpLEVEUAND PROGRAM SCHEDULE Chaknel Sept. 16 Through S«p». 22, 1951

—3^ »i •• ... . \D/g7jJ^ Television jet ci/culatton in the WXELviewinflaioo o.of Sept. 1,1951:

SOUTHWEST FORD SALES wow Pttstuxma PARADOX AND BASEBAU SCORES 11.15 - 11.20 P.M. SUNDAY

RESULTS ntn RENEWALS! RENEWALS men RESULTS!

rather than printed. It discusses a certain program on at a specific time and states in precise terms why it is particularly suitable for that client. Artwork is often used to make the presentation as attrac- tive as possible.

Personal Presentations All the promotion material de-

scribed thus far is carried by sales- men in kits as ammunition. Local material is delivered by the sta- tion's own salesmen. National sta- tion reps make personal deliveries of the material concerning them. The networks often have their sales- men arrange special meetings in the offices of the agency or client, so that a representative of the sales promotion department can deliver a more elaborate presentation. Such

EOCEES 5M0EEV 5 PI LCORNER

>JKOmiOGSRS SPECMCS ry

...Qtoo&ii! To c*ih-!n on Hw tremendoui impocl of Toleviiion. incW* • Smeby Rog«r» Bo« in osch of your n»w«p«par idi . . . tho dolly poport. Son Diogo Shopping Now., ond moil of tho wooVBof hovo maH of thotfl Smolcoy Rogon Boiei . . . Ihoy're your. to. uw, froo of chorgol. .. iuit cltp ,-,10 bo« you *ont ond poilo it in your od loyouf ... inetudo In boi any or ofl of fh# feDo«ing product, which are rogularly *d- rortlwd on SmoVoy Rogor,' Indopondont Grocer, T-V diowi:

Chillenge Creanefy SPECIALS

Program Schedule

bun Scudder PrwhKh... Nox-AII Beach ...

NeM, Par-T-Pak, R. C.CoU.. Plk Pak Pkkles ... laigendorf Cookies.., Point loma Brand Foods Sea PremeTuna ... BonaH Dutk Bread ... SbooM your prialer mil han these meti, please

pbaoe KfMB-JV Safes Deportmtmt. Main 2114. Merchandising Mailing

presentations are made as visual as possible and consist of:

a) flip-overs—20" x 30" illus- trated pads,

b) display cards—30" x 40" il- lustration boards (Both flipovers and cards contain original artwork and large hand lettering),

c) colored slides, d) motion picture film with

sound.

Direct Mail Pieces A great variety of material is

also mailed out to agencies and ad- vertisers. It includes folders, bro- chures, post cards, success stories, program schedules, special publi- cations and newsletters, and many other miscellaneous pieces.

The folders sent out by the net- works and some stations carry the same modern style drawings and layouts that distinguish their space advertisements. Copy usually is

Hi

m

Window Display

clever and crisp and is devoted to either program or market promo- tion. Usually a short printed note will be clipped to the folder. A good example of such a note ac- companied a CBS folder on Strange Adventure, a suspenseful film ser- ies. It read, "The story that unfolds as you turn the page should give you quite a start—a head-start on your competitors, if you follow up by calling me immediately for more of the inside facts about Strange Adventure."

A provocative mailing piece pre- pared by KECA-TV is folded so as to reveal only the bare legs of two shapely females. Copy reads, "... the most popular strip show in L. A." On opening the folder, the ladies are revealed to be amply clothed in futuristic costumes. The folder plugs Space Patrol, the most popular TV strip show (serial, that is) in L. A., according to certain Hooperatings.

WHIO-TV, Dayton, reprinted in booklet form a series of illustrated verse from their trade ads. One example goes:

"With the gals, MacEvally was never inept,

"But the one that he fell for would never accept.

"But at last he prevailed; His suc- cess was terrific!

"He wangled one ticket to see South Pacific.

"Right show—and right audi- ence—won his objective.

"With your Dayton sales- you should be as selective!"

Both regulation U. S. postal cards and special jumbo post cards are used for various promotional

OCTOBER, 1951 7

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Page 8: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

purposes. WFAA-TV, Dallas, mailscards to dealers, plugging certainshows and suggesting that theywill get more sales by stocking upon the product and using tie-in dis-plays. Another device, used byKECA-TV, is to send out actualpost cards sent to the station asproof of a program's mail pull.Printed on the actual card is theexplanation that it is one of a statednumber of such cards sent in bythe audience.

A major element in any promo-tional pattern is the success story.In some cases eye-catching printedsheets detail the success. In othercases the stories are mimeographedon plain white paper. WTVJ, Mi-ami, has a special letterhead fortheir success stories. They statethe facts under the headings ofs'ponsor, product, program, classi-fication, time segment, descriptionof success story and quote fromtestimonial letter.

An original approach to present-ing a sales success story wasthought up by KTTV, Los Angeles.Its headline read, "The MysteriousCase of the Missing Hop-In-Horses(3175 of 'em)." The release readas follows:

"THE TIME: 6-6:30 p.m., a Tues-day and a Thursday

"THE pLAcE: KTTV's 'ChristmasShoppers' program

"TIIE FRoNT uaN: Roy Maypole"THE'ORGANIzATION': Hollywood

Hobby & Electric Company"THE coME-oN: Hop-In-Horse. a

children's toy"THE cApER: In two participa-

tions Maypole spreads the wordaround that these Hop-In-Horsescan be had, for a price-91.59.Within a week 3175 Hop-In-Horsesdisappear from organization's storewhere they were cached. No clues.Possibly merchandise may turn upin homes of 3175 happy youngstersChristmas morning.

"rHE HAUL: $5.048.25 worth ofHop-In-Horses

'oTHn pAyopr,: If you want thingsto'disappear' profitably, Maypole isthe man for the job."

In Cleveland, WXEL recently de-veloped a program schedule, pre-pared by photo lithography, whichthey mail each week to agenciesand advertisers. On this programschedule, they devote a block onthe front page and two thirds ofthe back page to sales promotion.The front page is used to spotlight

8

current and continuing sponsorsand to put across the basic salespromotional thought that a sta-tion's ability to serve an advertiseris reflected in the station's renewals.The space on the back page is usedto disperse information. This cov-ers such things as market data,slide specifications, photographicstories of local participating pro-grams or local programs for sale.Also once a month the back pagesare devoted to a classified listof brand name advertisers overWXEL. These schedules are sentto retailers. wholesalers and dis-tributors.

Personalized form letters play animportant part in promoJing a sta-tion's or network's facilities andprograms. Often a map or otherprinted material is enclosed. Re-prints of letters from satisfied ad-vertisers are also widely circulated,as are complimentary reprints andreviews from newspapers andmagazines. WRGB, Schenectady,WTMJ-TY, Milwaukee, and WLW-TV, Cincinnati, periodically dis-tribute their own special news-papers combining news and promo-tional, material. A few stationsamong them WGN-TV Chicago,utilize a monthly four-page news-letter service. The station is iden-tified on the masthead and the lastpage is devoted exclusively to itemsabout that station.

Spoce ond Air Plugs

Programs are also promoted viaspace advertising and on-the-airannouncements paid for partly orentirely try the stations or networks.The amount of such promotionusually depends upon the expendi-ture of the client.

CBS-TV has a special depart-ment devoted to on-the-air promo-tion. They distribute folders totheir network stations in advanceof new programs, containing:

a) Copy for local announcementsof varying lengths to be used withglass slides or matted photos.(A sample 40-word announcementgoes: "It's another big event onyour comedy calendar. It's THEJACK BENNY TELEVISIONSHOW, and you'll be seeing it whenyou tune to Channel -------- tonightat "------- ! Jack's guests will be Clau-dette Colbert, Robert Montgomery,Vincent Price ! Be sure you'rewatching !")

b) Suggested news releases.c) Program information sheet,

giving the broadcast date, time,cast, client and agency.

d) Copy that might be used forsuch display material as posters,window and counter signs, bus andcar cards, billboards, lobby displays,etc.

e) Mats for newspaper adver-tisements.

KFMB-TV, San Diego, puts spe-cial emphasis on the promotion oftheir food and drug accounts. Forexample, they have supplied theirlocal newspapers and printers withmats tying in their Smokey Rogersprogram with plugs for groceryspecials. Proofs of these ads aresent to the grocers urging them"to cash in on the tremendous im-pact of television" by including aSmohey Rogers box in each of theirads.

Disploys

As another phase of its promo-tion work, KFMB-TV distributed1000 gummed window stickers tomore than 350 television retailstores in their area. These stickersare 5'" by 24" and announce the pre-sentation of the World Series "live"in San Diego with a plug urgingcustomers to "buy your TV setnow.tt

WGN-TV, Chicago plugs showsvia an illuminated marquee on itsoffice building. Posters, billboardsand'car cards are aXso widely usedby stations.

Television station KTTV in LosAngeles recently applied circusshowmanship to their promotion ofprograms. They rigged up a soundtruck and trailer that toured all

(Conti.nued, on page 21)

{

;

T&e *rsal Jxhn IKTTv*'"rtll

Speci.al Stunt

TELEVISER

purposes. WFA.A-TV, Dallas, mails cards to dealers, plugging certain shows and suggesting that they will get more sales by stocking up on the product and using tie-in dis- plays. Another device, used by KECA-TV, is to send out actual post cards sent to the station as proof of a program's mail pull. Printed on the actual card is the explanation that it is one of a stated number of such cards sent in by the audience.

A major element in any promo- tional pattern is the success story. In some cases eye-catching printed sheets detail the success. In other cases the stories are mimeographed on plain white paper. WTVJ, Mi- ami, has a special letterhead for their success stories. They state the facts under the headings of sponsor, product, program, classi- fication, t'me segment, description of success story and quote from testimonial letter.

An original approach to present- ing a sales success story was thought up by KTTV, Los Angeles. Its headline read, "The Mysterious Case of the Missing Hop-In-Horses (3175 of 'em)." The release read as follows:

"THE time; 6-6:30 p.m., a Tues- day and a Thursday

"the place: KTTY's 'Christmas Shoppers' program

"the front man : Roy Maypole "the 'organization': Hollywood

Hobby & Electric Company THE come-on : Hop-In-Horse, a

children's toy "the caper; In two participa-

tions Maypole spreads the word around that these Hop-In-Horses can be had, for a price—$1.59. Within a week 3175 Hop-In-Horses disappear from organization's store where they were cached. No clues. Possibly merchandise may turn up in homes of 3175 happy youngsters Christmas morning.

"the haul: $5,048.25 worth of Hop-In-Horses

"the payoff ; If you want things to 'disappear' profitably, Maypole is the man for the job."

In Cleveland, WXEL recently de- veloped a program schedule, pre- pared by photo lithography, which they mail each week to agencies and advertisers. On this program schedule, they devote a block on the front page and two thirds of the back page to sales promotion. The front page is used to spotlight

current and continuing sponsors and to put across the basic sales promotional thought that a sta- tion's ability to serve an advertiser is reflected in the station's renewals. The space on the back page is used to disperse information. This cov- ers such things as market data, slide specifications, photographic stories of local participating pro- grams or local programs for sale. Also once a munth the back pages are devoted to a classified list of brand name advertisers over WXEL. These schedules are sent to retailers, wholesalers and dis- tributors.

Personalized form letters play an important part in promoting a sta- tion's or network's facilities and programs. Often a map or other printed material is enclosed. Re- prints of letters from satisfied ad- vertisers are also widely circulated, as are complimentary reprints and reviews from newspapers and magazines. WRGB, Schenectady, WTMJ-TV, Milwaukee, and WLW- TV, Cincinnati, periodically dis- tribute their own special news- papers combining news and promo- tional, material. A few stations among them WGN-TV Chicago, utilize a monthly four-page news- letter service. The station is iden- tified on the masthead and the last page is devoted exclusively to items about that station.

_ j m

t i

- i W$ ; • «««»i SLi ■ «*** KffiB HI • KLy

"'.f»»«i>AV-7 00 .m HEDVesday JM -

Htv - j

Special Stunt

Space and Air Plugs Programs are also promoted via

space advertising and on-the-air announcements paid for partly or entirely by the stations or networks. The amount of such promotion usually depends upon the expendi- ture of the client.

CBS-TV has a special depart- ment devoted to on-the-air promo- tion. Thev distribute folders to their network stations in advance of new programs, containing:

a) Copy for local announcements of varying lengths to be used with glass slides or matted photos. (A sample 40-word announcement goes: "It's another big event on your comedy calendar. It's THE JACK BENNY TELEVISION SHOW, and you'll be seeing it when you tune to Channel tonight at ... ! Jack's guests will be Glau- dette Colbert, Robert Montgomery, Vincent Price! Be sure you're watching!")

b) Suggested news releases. c) Program information sheet,

giving the broadcast date, time, cast, client and agencjU^

d) Copy that might be used for such display material as posters, window and counter signs, bus and car cards, billboards, lobby displays, etc.

e) Mats for newspaper adver- tisements.

KFMB-TV, San Diego, puts spe- cial emphasis on the promotion of their food and drug accounts. For example, they have supplied their local newspapers and printers with mats tying in their Smokey Rogers program with plugs for grocery specials. Proofs of these ads are sent to the grocers urging them "to cash in on the tremendous im- pact of television" by including a Smokey Rogers box in each of their ads.

Displays As another phase of its promo-

tion work, KFMB-TV distributed 1000 gummed window stickers to more than 350 television retail stores in their area. These stickers are 5" by 24" and announce the pre- sentation of the World Series "live" in San Diego with a plug urging customers to "buy your TV set now."

WGN-TV, Chicago plugs shows via an illuminated marquee on its office building. Posters, billboards and car cards arc also widely used by stations.

Television station KTTV in Los Angeles recently applied circus showmanship to their promotion of programs. They rigged up a sound truck and trailer that toured all

(Continued on page 21)

8 TELEVISER

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Page 9: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

Planning and Produoing

The Television Quiz

by Chorles Adqms

I)RODUCING the television quiz.a program is, today, a relativelystreamlined' operation especiallywhen viewed in the light of prob-lems that suLround the dramaticand complicated variety programs.

Firstly, rehearsals are held to aminimum. For programs using act-ors to portray problems, or depictquestions as in Guest House andCelebri.ty Ti.me, dry run rehearsalsamount to 2 to 4 hours. Otherwise,there need be no more than a fewmoments dry rehearsal which canbe held in the TV studio, prior toshow time, to acquaint newcomerswith their locations on set, helpthem make the emotional adjust-ment to being televised. For cam-era rehearsals, two hours are allthat is needed for programs rely-ing heavily on visual treatments.Celebritg Time reheatses 2 hours oncamera. With Thi.s Ring two hours.It's News to Me uses two hours ofcamera rehearsal. But, where visu-alizations are absent, or used spar-ingly, where no problems or lettersare dramatized, camera rehearsaltime runs approximately 30 min-ttt€s-What's My Line? and, SaE ItWith Acting using this amount.

TimingThere need be no timing of the

overall show. The camera-rehearsedportion equals but a fraction of28:.40. Back timing to the last cam-era-rehealsed incident, adjacent tothe program's close, is done to effecta smooth and timely wind-up. Toprotect the pace of the show, a timeallowance is often set up for each

OCTOBER, I95I

the concluding orticle in otwo port series onolyzing opopulor progrom type

Pqrt ll

question and discussion (or an-swer) segment. Roughly, it's 5 min-utes. If the time budget runs overthis amount, the MC is alerted, anew question is begun, a slackeningof the show's pace is avoided andthe quality of the overall impact ofthe performance is protected.

There are several ways to stagethe panel and MC portion of thequizzer. One method is to seat thepanelists, or guests, behind, and onthe same side of, a long table. Eachperformer has his individual chairto sit in, eaeh has before him, amike on the table. Rather than oc-cupying the head of the table, thusbeing seated at right angles to thegroup as was done in early days oftelevision, the MC sits isolatedfrom the group by a few feet, at asmall table, and at an angle per-mitting him to view his guests.This arrangement is used in LeaaeIt To The Girls, What's My Li,ne?and, DownYou Go and is ideal whereguests are more or less permanentlyselected and the program format,chronologically, is much the same.Camera-wise, this grouping.affordsgood television. It provides head-onsingle shots of panelists at the tablewhich can be taken by one camerawhile another camera gives to thedirector a transitional four-shot ofthe entire group. The third camerasupplies the shot of the MC and aspecial guest, if there be one, nextto him. The first camera is, ofcourse, a roving one, shopping forsingles. When the discussion amongpanelists follows an agreed-uponorder of rotation as in What's MgLi,ne,there's no problem of securing

close-ups of individual panelists,and getting them quickly. But whenadJibbing starts, the director andcamera men must, too, function onan adlib basis. It is here that thetransitional four-shot provides themargin of safety for fluid and flow-ing camera work. Where scenes aredramatized to depict problems orletters, two- or three-folds are setup to the right or left of the panelgroup, picked up with one camera.Dvamatizations are brief-30 sec-onds to two minutes. One cameracan usually sustain the dramaticaction for that length of time.

Another Pottern

Another pattern for staging isthe circular one. The panelists andMC are seated in a semi-circulararrangement, the MC occupying thevortex of the circle (which is flat-tened out a trifle so that it repre-sents a rounded 'V'). Here, in-timacy is gained. The MC flanked,as he is, by a pair of panelists, be-comes more a part of the proceedsinstead of occupying a post physi-cally removed from the panel, as inthe former method creating two en-tities instead of one. A tightly-knitshot of the entire group can be had.It can serve to establish the scene.The center camera can take thisshot. The two outside cameras cross-shoot, picking up two-shots of thepanelists. After the opening shot,the center camera can hold to a two-shot of the MC and a guest 'right'or guest 'left' of the MC. Sincegreater intimacy is achievedthrough circular staging, it follows

9

the concluding article in a two part series analyzing a popular program type

Part II

Planning and Producing

The Television Quiz

by Charles Adams

PRODUCING the television quiz program is, today, a relatively

streamlined operation especially when viewed in the light of prob- lems that surround the dramatic and complicated variety programs.

Firstly, rehearsals are held to a minimum. For programs using act- ors to portray problems, or depict questions as in Guest House and Celebrity Time, dry run rehearsals amount to 2 to 4 hours. Otherwise, there need be no more than a few moments dry rehearsal which can be held in the TV studio, prior to show time, to acquaint newcomers with their locations on set, help them make the emotional adjust- ment to being televised. For cam- era rehearsals, two hours are all that is needed for programs rely- ing heavily on visual treatments. Celebrity Time rehearses 2 hours on camera. With This Ring two hours. It's Netvs to Me uses two hours of camera rehearsal. But, where visu- alizations are absent, or used spar- ingly, where no problems or letters are dramatized, camera rehearsal time runs approximately 30 min- utes—What's My Line? and Say It With Acting using this amount.

Timing

There need be no timing of the overall show. The camera-rehearsed portion equals but a fraction of 28:40. Back timing to the last cam- era-rehearsed incident, adjacent to the program's close, is done to effect a smooth and timely wind-up. To protect the pace of the show, a time allowance is often set up for each

question and discussion (or an- swer) segment. Roughly, it's 5 min- utes. If the time budget runs over this amount, the MC is alerted, a new question is begun, a slackening of the show's pace is avoided and the quality of the overall impact of the performance is protected.

There are several ways to stage the panel and MC portion of the quizzer. One method is to seat the panelists, or guests, behind, and on the same side of, a long table. Each performer has his individual chair to sit in, each has before him, a mike on the table. Rather than oc- cupying the head of the table, thus being seated at right angles to the group as was done in early days of television, the MC sits isolated from the group by a few feet, at a small table, and at an angle per- mitting him to view his guests. This arrangement is used in Leave It To The Girls, What's My Line? and Down You Go and is ideal where guests are more or less permanently selected and the program format, chronologically, is much the same. Camera-v/ise, this grouping affords good television. It provides head-on single shots of panelists at the table which can be taken by one camera while another camera gives to the director a transitional four-shot of the entire group. The third camera supplies the shot of the MC and a special guest, if there be one, next to him. The first camera is, of course, a roving one, shopping for singles. When the discussion among panelists follows an agreed-upon order of rotation as in What's My Line, there's no problem of securing

close-ups of individual panelists, and getting them quickly. But when ad-libbing starts, the director and camera men must, too, function on an ad-lib basis. It is here that the transitional four-shot provides the margin of safety for fluid and flow- ing camera work. Where scenes are dramatized to depict problems or letters, two- or three-folds are set up to the right or left of the panel group, picked up with one camera. Dramatizations are brief—30 sec- onds to two minutes. One camera can usually sustain the dramatic action for that length of time.

Another Pattern

Another pattern for staging is the circular one. The panelists and MC are seated in a semi-circular arrangement, the MC occupying the vortex of the circle (which is flat- tened out a trifle so that it repre- sents a rounded 'V'). Here, in- timacy is gained. The MC flanked, as he is, by a pair of panelists, be- comes more a part of the proceeds instead of occupying a post physi- cally removed from the panel, as in the former method creating two en- tities instead of one. A tightly-knit shot of the entire group can be had. It can serve to establish the scene. The center camera can take this shot. The two outside cameras cross- shoot, picking up two-shots of the panelists. After the opening shot, the center camera can hold to a two- shot of the MC and a guest 'right' or guest 'left' of the MC. Since greater intimacy is achieved through circular staging, it follows

OCTOBER, 1951 9

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that the program's concept is moreoften adlib than pre-set-as far asthe order of panelists giving theiranswers is concerned. There is in-creased risk therefore, in going forsingle close-ups. But of course, ifyou know your panelists and whichis longest-winded, you can reducethe hazard of being stranded byconfining your close-ups to thosepanelists known to be most talka-tive.

Which method should be used-the table staging, or circular ar-rangement? It depends largely up-on the concept of the program, itsmood, whether it's completely adlib (an 'anything goes'basis, as faras camera work is concerned), orpartially so; r;r'hether the emphasison camerawork is to be'on close-ups,or group, or two-shots. (Sometimesdetermined, in the final analysis, bythe telegenic qualities of the panelmembers) . Gu,est House, Li,f e Be-gins at 80 use the circular, intimatestaging plan. -If's News to Me andArt Ford's RecoriX Reoiew the table-staging pattern.

A third way of staging the panelprogram though not generally used,is to seat the panelists on two dif-ferent elevations, one row of panel-ists in back of the other, like tworows in an inclined theatre.

Jtr,aenile Ju.ry, Quiz Kids and,Twenty Questions revert to thisstrategem which, in this view, issatisfactory staging for a children'sprogram, per"haps, but adds onlyconfinement to an adult program.

The audio problem is not severein any of the three staging plans.In the circular methods. the boommike, hovering over a compactgroup of stationary performers,can almost ahvays handle the audioalone. Where guests spread out ina wider circle, as in Guest House,the MC can be given a table mikeand one or tu'o stationary and hid-den mikes can be hooked up, for asafety factor, and placed in close tothe. panelists. Where the guestsand panel-members are seated be-hind a long table, each performerhas his own table mike, concealedor not as the producer may wish.The MC, of course, has his or.irn, too.

Panel programs play, basically,for humor. Consequently, the light-ing follows a generally bright, well-lit pattern with no attempt to se-cure dramatic effect lighting of thepanelists (but it may be obtainedfor actors engaged in dramatizing

t0

letters or problems.) Because thepanel member moves scarcely at allduring the performance, good backlighting is not difficult to secureand is used in almost all panel pro-grams to heip give to the panelgroup separation from the walls ofthe room which it occupies.

Once the hurdle is overcome ofproducing the first two or three per-formances, once the productionbugs inherent to each new televi-sion program are solved, the pro-duction procedure can be prettYwell established, in panel programs,and can follow the same uniformpattern week in and week out. Abasic lighting plot can be used, moreor less, for each performance. Au-dio requirements are alike, fromone week to another.

Comero Work

Camera work is based on eithera set of conditions following anagreed-upon chronological order, orit is entirely on an ad lib basis. Ifthe former. there is no unusualproblem. If the latter, there is noth-ing the director ean do about it un-til he's on the air. Excepting inprograms using actors to help dra-matize problems, there are nostrange props needed. And, be itthe former case, the scenes arebrief, the dramatizations are notexpensive, the props required there-fore are usu:rlly not hard to pro-cure. Nor too expensive. Once theprogram's concept has been crystal-lized and set, the same furnitureand decor can be used weekly. Thereis no basic costuming nor make-upto be worked out so, all in all, theproduction from a physical stand-point-in television terms-is sim-ple, forthright and routine and isof course one of the reasons whypanel programs are so popular withsponsor and network,

The real problem is that which isfound in the creating of any show,be it for television, radio, the stageor motion pictures and consists ofachieving the right combination ofthe subject matter (script), cast-ing (colorful personalities andMC), and production values includ-ing a liberal application of show-manship.

At the close of the 1951 seasonthere were up'l'r'ards of 25 panel quizprograms on the air. A majorityof them possessed respectable rat-ings. This summer What's MaLine? appeared in several top ten

groupings. CelebritE Time andTwentg Questions, veterans of theair waves, rvere close to the top.But that was because each had theright combination of the 3 main in-gredients-not because the panelquiz program is easy (apparently)to produce.

The very fact that a panel quizprogram appears to offer an effort-less means of garnering a comfort-able rating at a moderate cost seemsto be the very reason why so manyare hastily thrown together. And,this is the real concern: almost asmany are as swiftly withdrawn.

From the creative viewpoint,panel progra[rs are as knotty andtough to come up with as any othertype of show in show business. Theapparent ease of their productionis as deceptive as a hooded man.It can lead the ".sponsor intotroubled waters. For. in show busi-ness, as in any other facet of life,the simplest looking feats are thehardest to master. The straightstrike, 'over the middle and letterhigh,' is harder to throw than thejumpiest, most sweeping curve. Inswimming, the simplest lookingdive, the plain front dive, is themost troublesome to champions.Yet, what youngster hasn't scram-bled onto a diving board for hisfirst try, poised himself for a head-flrst dive and then plunged into thewater-derriere first? And whatsponsor will be next to make themistake of hurrying into the con-ception of a panel program, castingaside as he does, the time andthought necessary for its prepara-tion, being moved more by the de-ceptive qualities of the easy-to-pro-duce quizzer than by the need toapply the time factor in getting to-gether the program's main ingre-dients.

Creating the easyJooking quizzerin too short a time, as many arewont to do, is like the letter-writerwho, pressed for time, wrote along letter to which he added aP.S., "If I had had more time, Iwouldn't have written such a longlettet." Like the diver, the disap-pointed sponsor will probably findiittle solace when he exclaims, afterthe first few performances of. hisprogram, "If I had taken more timeputting together my quizzer, itsrating wouldn't be plunging-derri-ere fitst,"

TELEVISER

that the program's concept is more often ad-lib than pre-set—as far as the order of panelists giving their answers is concerned. There is in- creased risk therefore, in going for single close-ups. But of course, if you know your panelists and which is longest-winded, you can reduce the hazard of being stranded by confining your close-ups to those panelists known to be most talka- tive.

Which method should be used— the table staging, or circular ar- rangement? It depends largely up- on the concept of the program, its mood, whether it'H completely ad lib (an 'anything goes' basis, as far as camera work is concerned), or partially so; whether the emphasis on camerawork is to be on close-ups, or group, or two-shots. (Sometimes determined, in the final analysis, by the telegenic qualities of the panel members). Guest House, Life Be- gins at 80 use the circular, intimate staging plan. It's News to Me and Art Ford's Record Review the table- staging pattern

A. third way of staging the panel program though not generally used, is to seat the panelists on two dif- ferent elevations, one row of panel- ists in back of the other, like two rows in an inclined theatre.

Juvenile Jury, Quiz Kids and Tiventy Questions revert to this strategem which, in this view, is satisfactory staging for a children's program, perhaps, but adds only confinement to an adult program.

The audio problem is not severe in any of the three staging plans. In the circular methods, the boom mike, hovering over a compact group of stationary performers, can almost always handle the audio alone. Where guests spread out in a wider circle, as in Guest House, the MC can be given a table mike and one or two stationary and hid- den mikes can be hooked up, for a safety factor, and placed in close to the panelists. Where the guests and panel-members are seated be- hind a long table, each performer has his own table mike, concealed or not as the producer may wish. The MC, of course, has his own, too.

Panel programs play, basically, for humor. Consequently, the light- ing follows a generally bright, well- lit pattern with no attempt to se- cure dramatic effect lighting of the panelists (but it may be obtained for actors engaged in dramatizing

letters or problems.) Because the panel member moves scarcely at all during the performance, good back lighting is not difficult to secure and is used in almost all panel pro- grams to help give to the panel group separation from the walls of the room which it occupies.

Once the hurdle is overcome of producing the first two or three per- formances, once the production bugs inherent to each new televi- sion program are solved, the pro- duction procedure can be pretty well established, in panel programs, and can follow +he same uniform pattern week in and week out. A basic lighting plot can be used, more or less, for each performance. Au- dio requirements are alike, from one week to another.

Camera Work Camera work is based on either

a set of conditions following an agreed-upon chronological order, or it is entirely on an ad lib basis. If the former, there is no unusual problem. If the latter, there is noth- ing the director can do about it un- til he's on the air. Excepting in programs using actors to help dra- matize problems, there are no strange props needed. And, be it the former case, the scenes are brief, the dramatizations are not expensive, the props required there- fore are usually not hard to pro- cure. Nor too expensive. Once the program's concept has been crystal- lized and set, the same furniture and decor can be used weekly. There is no basic costuming nor make-up to be worked out so, all in all, the production from a physical stand- point—in television terms—is sim- ple, forthright and routine and is of course one of the reasons why panel programs are so popular with sponsor and network.

The real problem is that which is found in the creating of any show, be it for television, radio, the stage or motion pictures and consists of achieving the right combination of the subject matter (script), cast- ing (colorful personalities and MC), and production values includ- ing a liberal application of show- manship.

At the close of the 1951 season there were upwards of 25 panel quiz programs on the air. A majority of them possessed respectable rat- ings. This summer What's My Line? appeared in several top ten

groupings. Celebrity Time and Twenty Questions, veterans of the air waves, were close to the top. But that was because each had the right combination of the 3 main in- gredients—not because the panel quiz program is easy (apparently) to produce.

The very fact that a panel quiz program appears to nffer an effort- less means of garnering a comfort- able rating at a moderate cost seems to be the very reason why so many are hastily thrown together. And, this is the real concern: almost as many are as swiftly withdrawn.

From the creative viewpoint, panel programs are as knotty and tough to come up with as any other type of show in show business. The apparent ease of their production is as deceptive as a hooded man. It can lead the' ■ sponsor into troubled waters. For, in show busi- ness, as in any other facet of life, the simplest looking feats are the hardest to master. The straight strike, 'over the middle and letter high,' is harder to throw than the jumpiest, most sweeping curve. In swimming, the simplest looking dive, the plain front dive, is the most troublesome to champions. Yet, what youngster hasn't scram- bled onto a diving board for his first try, poised himself for a head- first dive and then plunged into the water—derriere first? And what sponsor will be next to make the mistake of hurrying into the con- ception of a panel program, casting aside as he does, the time and thought necessary for its prepara- tion, being moved more by the de- ceptive qualities of the easy-to-pro- duce quizzer than by the need to apply the time factor in getting to- gether the program's main ingre- dients.

Creating the easy-looking quizzer in too short a time, as many are wont to do, is like the letter-writer who, pressed for time, wrote, a long letter to which he added a P.S., "If I had had more, time, I wouldn't have written such a long letter." Like the diver, the disap- pointed sponsor will probably find little solace when he exclaims, after the first few performances of his program, "If I had taken more time putting together my quizzer, its rating wouldn't be plunging—derri- ere first."

10 TELEVISER

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Page 11: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

T. UI Alunni Enployed in New York Network Stations .Abel, RoyAlbin, Nothon ...Amodeo, AnthonyBernstein, Bob ...Bielcik, Henry ...Cilurzo, VincentCohen, Gilbert ...Cohen, Scm ......Debonnis, JosephDi Lonordo, HugoElgort, Som .. ...Epstein, Alfred .. .

Fleischmon, Russell

Chodburne, EthelnoeCroig, EugeneCromwell, Victor ........Diomond, Alon . .

Diomond, Vernon .

Goinor, OscorGuyon, Williom J. ......Holpin, JohnHousmon, Fronk .........Heoly, Robert

. Associote Director...... Sfudio fec[..... . Studio Tech...... Studio fech....... Comercmon..... Studio Tech........ Film Dept.

.. . .. . Video Recording Dept.Tech. Dir.

....... FilmDept.

... .. Studio Tech........ Comeramon. Operations Dept.

Folino, SolvotoreFreedmon, MyronFriedmon, Jock ...Holmes. J. .......Itken, Williom . .

Johnson,Arthur...Junghous, Mox ....Koplon, Albert ...Klein,Jerry......Long,Morley.....

o

Hellmon,Gordon....Hoffmon,Horold....Klemsock,George...Morks, Joson .......Moses,George......Nielond, Henry .....Poulus, Lovrence . ..

Vollelungo, JosephStudio Technicion, WIZ-TV, N. Y.

Votik, AlbinVideo Operator, WCBS-IY, N. Y.

Wornick, RobertTechnical Operctions Dept., WCBS-TY,

Webb, Robert W.WCBS-TU, New York

Weed, HormonWNBT, New Yo*

Weiss, JerryComeraman, WNBT, New York

Werner, HenryStudio Technician, WJZ-TY, N. Y.

Weshner, SkipWiter, WABD-Dumont, New York

Weston, EdvcrdPrcgrom Mgr., WCPO-TV, Cincinnati

Weston, SteveAss't Dhectot, W ABD-TV, New York

Whitmon, DonoldProgram Director, KGW, Portlond, O.

Whitmon, DonAss't. Operotions Mgr., WIBK, Detrcit

Whitherbee, Wolter K.Director of Remotes, WAVE-TV, Louisville

Willioms, HelenAdvertising & Promotion Dept., WABD-Dumont, N. Y.

Wohl, WesleyStudio Technicion, WABD, New York

Wynn, Lowrencefime Soles 'Stofl, Dumont TV Network,New Yorft

Zodtovo, MothewsMaintenonce Dept., CBS-TY, New York

Zovetz, SteveComeramon, WPIX, New York

Zito, WorrenKinescope Recording Dept., NBC-fV, N. Y.

Zuckermon, JeromeCameramon, WXYZ, Detroit

Zurheide, RobertTechnial Director, WRGB, Schenectady,N. v.

zt|,

aa

Production Dept.Studio fec,5.

..... Comeramon

.. y'ssisfont fecft.. Director

... Special Eflects..... Photogrcpher.. . Yideo Engineer...... Cameromon

Free-lonce Writer

Andre, Edword . ..Andrews, Ted ....Bermon, Dove ....Brontley, LinvoodElliot, Borry .....Glennen, WilliomGlickmon, Roe ...Joeger, Andrew P.

Allen, D. ....,Berkovitz, .SimonCondit, WorrenDoniels, NelsonEddy,Wolter...Fisher, Judith ..Fronklin, Ben . .

Gibbs, Fronk . .

.... Assistont fech.

... . Assistont Tech.

.. Assistant Director....... Studio Tech.... Production Dept..... Assistant.Tech.. .. Production Dept....... FilmDirector

Comeroman...... Lighting Man

....... Lighting Man....... Prod'n Focilities Dept..... Kinescope Recording Dept.

.... Production Dept.ComeromonCameromdn

Also

Kominsky, Bert ..Locey, Bill ......Little, Allon .....McNomoro, DickMortorcno, RobertNimmo, Jomes . .

...... Cameroman

...... Comeromon. Production Dept... . Assistont Tech.. . .. . Studio Tech.Assistont Director

o

....... Sfudio fecfi.ComeromanComeramon.... Writer

. .. .dssistont Director..... Advertising & Promotion

Studio Tech.. Iime Soles

...... Asst. Film Trallic Mgr.

. Operations Control Supervisor.. . Production Dept..... Personnel Dept,

. . . Kinescope Rxording Dept...... BusinessUlice

Comeraman.... Kinescope Recording Dept.

. . . Director.. ..StudioTech.

.......TrdflicDept.... ... Studio Tech.

Rogow, RobertSponiordi, RolphTilt, Albert ...Weshner, SkipWeston, SteveWillioms, HelenWohl, Wesley . .

Wynn, Lowrence

O'Brien, EdwordSeiz, Chorles . .

Stork, MorjorieSteeves, John . .

Tesser, ChorlesWeed, HormonWeiss, Jerry . .

Zito, Worren . .

tltt

TItl

ABG.TUComeramon

. ComeramanStudio Tech.Studio Tech^

Lighting ManStudio Tech.

. ComeromanSuipt Dept.

Yideo Recording Dept.Studio Tech.

a

. Soles Presentstions Mgr.....Cameromon... y'ssist. fecrr......... Reoder.... Comeromon.... Comeramon

... .... Studio Supewisor

Lizzone, Robert . ... Studio TechnicianLopes, Olympio Studio Tech.McSherry, Wiffiom Prcduction Dept.McTigue, John .. .. PrcductionDept.Moscofo, Roymond ...... CamercmanMoson, Sonny ....... V,lriterPoulson, Borney . . Filn Dept.Pottosch,Allen .. .. y'ssociote DirectorSegol, Herbert . Studio Tech.Sobofov, Horold . . FIor Mgr.Stefononi, Joseph . . Studio TechnicionVollelungo, Joseph . ... Studio lecfi.Werner, Henry . ....... StudioTech.

Peyson, Robert ........ .. Floor M$.Peyton, G. ..... ComeromanPhillips, lrving Scenic Dept.Schvortz, Jerome . ... Lighting T*h.Storr, Bernord .. Scenrc Dept.Steinberg, Chorles . Studio Tech.Votik, Afbin . Video OperotorWornick, Robert . ...... StudioTech.Webb, Robert . . Studio Tech.Todrovo,Mothews ...... Maintenance

CBS.TU

DuM0l{T

]IBG.TUJocober, WorrenLoomis, Jomes . .

Meyer, BernordMonteigo, Coesor

By New York's Non-Networft Stotions

W(l R.TU WP IX WATU

l4

"Television Workshop Grcduqtes Serve 7V Sfotions Ircm Coast-to-Coqst"

TELEVISER

Vallelunga, Joseph Studio Technician, WJZ-TV, N. Y.

Vitk, Albin Video Operator, WCBS-TV, N. Y.

W Warnick, Robert

Technical Operations Dept., WCBS-TV, Webb, Robert W.

WCBS-TV, New York Weed, Harmon

WnBI New York Weiss, Jerry

Cameraman, WNBT, New York Werner, Henry

Studio Technician, WJZ-TV, N. Y.

Weshner, Skip Writer, WABD-Dumont, New York

Weston, Edward Program Mgr., WCPO-TV, Cincinnati

Weston, Steve Ass'f Director, WABD-TV, New York

Whitman, Donald Program Director, KGW, Portland, O.

Whitman, Don Ass'f. Operations Mgr., WJBK, Detroit

Whitherbee, Walter K. Director of Remotes, WAVE-TV, Louisville

Williams, Helen Advertising & Promotion Dept., WABD- Dumont, N. Y.

Wohl, Wesley Studio Technician WABD, New York

Wynn, Lawrence Time Sales Staff, Dumont TV Network,

New York I

Zadrova, Mathews Maintenance Dept., CBS-TV, New York

Zavetz, Steve Cameraman, WPIX, New York

Zito, Warren Kinescope Recording Dept., NBC-TV, N. V

Zuckerman, Jerome Cameraman, WXYZ, Detroit

Zurheide, Robert Technial Director, WRGB, Schenectady, N. Y.

IV. Alumni Employed in New York Network Stations

Abel, Ray Associate Director Albin, Nathan Studio Tech. Amodeo, Anthony Studio Tech. Bernstein, Bob Studio Tech. Bielcik Henry Cameraman Cilurza, V.ncent . . . Studio Tech. Cohen, Gilbert Film Dept. Cohen, Sam Video Recording Dept. Debonnis, Joseph Tech Dir. Di Lonardo, Hugo Film Dept. Elgort Sam Studio Tech. Epstein, Alfred Cameraman Fleischman, Russell Operations Dept.

ABC-TV Folino, Salvatore Cameraman Freedman, Myron .... Cameraman Friedman, Jack Studio Tech. Holmes, J Studio Tech. Itken, William . . . Lighting Man Johnson, Arthur Studio Tech. Junghaus, Max Cameraman Kaplan, Albert Script Dept. Klein, Jerry Video Recording Dept. Lang, Morley Studio Tech.

Lizzone, Robert Studio Technician Lopes, Olympio Studio Tech. McSherry, William Production Dept. MrTigue, John Production Dept. Mascolo, Raymond Cameraman Mason, Sonny Writer Paulson, Barney Film Dept. Pottasch, Allen Associate Director Segal, Herbert . . Studio Tech. Sobolov, Harold Floor Mgr. Stefanoni, Joseph ... . Studio Technician Vallelunga, Joseph Studio Tech. Werner, Henry Studio Tech.

Chadburne, Ethelnae Production Dept. Craig, Eugene Studio Tech. Cromwell, Victor Cameraman Diamond Alan ... Assistant Tech Diamond, Vernon Director Gainor, Oscar Special Effects Guyon, William J Photographer Halpin, John ... Video Engineer Hausman, Frank Cameraman Healy, Robert Free lance Writer

CBS-TV Hellman, Gordon .... Soles Presentations Mgr. Hoftman, Harold Cameraman Klemsack, George Assist. Tech. Marks, Jason Reader Moses, George Cameraman Nieland, Henry Cameraman Paulus, Lawrence . Studio Supervisor

Peyson, Robert . . Floor Mgr. Peyton, G Cameraman Phillips, Irving Scenic Depi Schwartz, Jerome Lighting Tech. Starr, Bernard Scenic Dept. Steinberg, Charles Studio Tech. Votik, Albin Video Operator Warnick, Robert Studio Tech. Webb Robert Studio Tech. Zadrova, Mathews Maintenance

Andre, Edward Assistant Tech. Andrews, Ted .. Assistant Tech Berman, Dave Assistant Director Brantley, Linwood Studio TecF Elliot, Barry Production Depi Glennen, William Assistant Tech. Glickman, Rae . Production Depi Jaeger, Andrew P Film Director

DuMONT Kaminsky, Bert Cameraman Lacey, Bill Cameraman Little, Allan Production Dept. McNamara, Dick . Assistant Tech. Martorano, Robert Studio Tech. Nimmo, James Assistant Director

Rogow, Robert Studio Tech. Spaniard!, Ralph Cameraman Tilt, Albert Cameraman Weshner, Skip Writer Weston, Steve Assistant Director Williams, Helen . Advertising & Promotion Wohl, Wesley Studio Tech. Wynn, Lawrence ... Time Sales

Allen, D ... Cameraman Berkowitz, Simon . . Lighting Man Condit, Warren Lighting Man Daniels, Nelson . Prod'n Facilities Dept. Eddy, Walter , Kinescope Recording Dept. Fisher, Judith Production Dept. Franklin, Ben Cameraman Gibbs, Frank Cameraman

NBC-TV

Jacober, Warren Director Loomis, James Studio Tech. Meyer, Bernard Traffic Dept. Manteigo, Caesar Studio Tech.

O'Brien, Edward .... Asst. Film Traffic Mgr. Seiz, Charles Operations Control Supervisor Stark, Marjorie Production Dept. Steeves, John Personnel Dept. Tesser, Charles Kinescope Recording Dept. Weed, Harmon Business Office Weiss, Jerry . . Cameraman Zito, Warren . . . Kinescope Recording Depi

Also By New York's Non-Network Stations

WOR-TV :: WPIX :: WATV 'Television Workshop Graduates Serve TV Stations from Coast-to-Coast'

14 TELEVISER

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Page 12: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

J. L. Vqn Volkenburg, President of CBS-TV discusses ' ' '

The Future of

HAT does the future hold forTV hetwork operations? With

the transcontinental TV schedulebeing rapidly exPanded Tnr,nvrsnnfelt that this was a ParticularlYappropriate time to consider thisfundamental question'

J. L. Van Volkenburg, Presidentof the CBS Television Division, was,therefore, queried as to his oPin-ions regarding cross-country TV,film recordings, international net-working, and film vs. live TV.

"Film recordings will continueto be important in network opera-tions for some time to come", saidMr. Van Volkenburg. "Indeed, Ibelieve their use is likely to increaseover the next few years."

Asked why he thought so, Mr.Van Volkenburg replied, "In thefirst place, the country is far frombeing blanketed with interconnectedstations. And as new stations areopened in additional areas, manyof them will be without cable facili-ties for some time to come, and willrequire service via the film record-ing route until they are intercon-nected. Even the interconnected cit-ies seldom have more than one ortwo stations, and the question oftime clearance is still an acute one.Such stations can and will supplymany top network shows on film re-cordings, programmed on a delayedbasis to suit their available time."

With regard to how the coast-to-coast TV network would be utilizedin actual practice, the CBS-TVChief said that the three-hour time

ocToBER, 1951

TU lletworks

differential between the coasts andthe allocation of the limited facili-ties among the various networkshad to be considered. The sched-ule for network allocations has notbeen finally set, although interimarrangements are being made. "Na-turally, all networks and sPonsorsare keenly interested in having as

many of their big shows as Possibledistributed live on the transcontin-ental system, and ate moving as

fast in that direction as they can,"said Mr. Van Volkenburg.

Repeot Telecosts

As for the prosPects of "rePeattelecasts" to get around the three-hour time difference, the CBS-TVexecutive said, "while this has beena common practice in radio foryears, I think it is a lot less likelYin television, at least at the outset."He explained that "both the costof such rebroadcast and the limitedcable facilities now available arelikely to rule it out for the present."

It has been reported that in somecases programs will be kinescoPedon the west coast by a 35 mm filmrecording process and played backat a later time the same night bYwest coast stations.

As to the film vs. Iive TV con-troversy, Mr. Van Volkenburg said,"My own personal hunch, for whatit's worth, is that since both liveand film broadcasts have obviousand distinct advantages, we'll con-tinue to see a lot of both for a long

J. L. Van.Volkenburg

hours for live vs. film broadcast,it's still anybody's guess. Certainlyboth methods have their advan-tages, and there's no lack of spokes-men for each: for the immediacyand personal quality of live, forthe wider scope of production Pos-sible with fllm. The final decision,as in all matters to do with tele-vision, rests with the viewing Pub-lic and the program choice theymake," Mr. Van Volkenburg stated.

Asked what effect the trend to-rvard film would have on networkoperations, the head of CBS-TVanswered:

"Film is being used extensivelYin network television, and in mostcases quite successfully. However,I don't think you can regard thisas a 'trend'. Along with some in-creases in the use of film has gone

the greatly increased number ofhours of operation for most tele-vision stations, with consequent bigincreases in live broadcasting time."

Looking into the future, Mr. VanVolkenburg also discussed inter-national networking. "There is notechnical reason," he said, "for notlooking forward to a internationalnetwork, either by relay or film re-cording. Already there are a fewnetwork television facilities in Can-ada and Latin-America".

The network president went onto say, "the only ultimate limita-tions would be the same as theyhave always been in other mediaof communication : political-econom-ic factors, and international tastedifferences in program fare."

ooo

time to come."As to the ultimate of

t5

J. L. Van Volkenburg, President of CBS-TV discusses

The Future of

TV Networks

WHAT does the future hold for TV hetwork operations? With

the transcontinental TV schedule being rapidly expanded Televiser felt that this was a particularly appropriate time to consider this fundamental question.

J. L. Van Volkenburg, President of the CBS Television Division, was, therefore, queried as to his opin- ions regarding cross-country TV, film recordings, international net- working, and film vs. live TV.

"Film recordings will continue to be important in network opera- tions for some time to come", said Mr. Van Volkenburg. "Indeed, I believe their use is likely to increase over the next few years."

Asked why he thought so, Mr, Van Volkenburg replied, "In the first place, the country is far from being blanketed with interconnected stations. And as new stations are opened in additional areas, many of them will be without cable facili- ties for some time to come, and will require service via the film record- ing route until they are intercon- nected. Even the interconnected cit- ies seldom have more than one or two stations, and the question of time clearance is still an acute one. Such stations can and will supply many top network shows on film re- cordings, programmed on a delayed basis to suit their available time."

With regard to how the coast-to- coast TV network would be utilized in actual practice, the CBS-TV Chief said that the three-hour time

differential between the coasts and the allocation of the limited facili- ties among the various networks had to be considered. The sched- ule for network allocations has not been finally set, although interim arrangements are being made. "Na- turally, all networks and sponsors are keenly interested in having as many of their big shows as possible distributed live on the transcontin- ental system, and are moving as fast in that direction as they can," said Mr. Van Volkenburg.

Repeat Telecasts

As for the prospects of "repeat telecasts" to get around the three- hour time difference, the CBS-TV executive said, "while this has been a common practice in radio for years, I think it is a lot less likely in television, at least at the outset." He explained that "both the cost of such rebroadcast and the limited cable facilities now available are likely to rule it out for the present."

It has been reported that in some cases programs will be kinescoped on the west coast by a 35 mm film recording process and played back at a later time the same night by west coast stations.

As to the film vs. live TV con- troversy, Mr. Van Volkenburg said, "My own personal hunch, for what it's worth, is that since both live and film broadcasts have obvious and distinct advantages, we'll con- tinue to see a lot of both for a long time to come.

"As to the ultimate division of

J. L. Van. Volkenburg

hours for live vs. film broadcast, it's still anybody's guess. Certainly both methods have their advan- tages, and there's no lack of spokes- men for each: for the immediacy and personal quality of live, for the wider scope of production pos- sible with film. The final decision, as in all matters to do with tele- vision, rests with the viewing pub- lic and the program choice they make," Mr. Van Volkenburg stated.

Asked what effect the trend to- ward film would have on network operations, the head of CBS-TV answered:

"Film is being used extensively in network television, and in most cases quite successfully. However, I don't think you can regard this as a 'trend'. Along with some in- creases in the use of film has gone the greatly increased number of hours of operation for most tele- vision stations, with consequent big increases in live broadcasting time."

Looking into the future, Mr. Van Volkenburg also discussed inter- national networking. "There is no technical reason," he said, "for not looking forward to a international network, either by relay or film re- cording. Already there are a few network television facilities in Can- ada and Latin-America".

The network president went on to say, "the only ultimate limita- tions would be the same as they have always been in other media of communication: political-econom- ic factors, and international taste differences in program fare."

OCTOBER, 1951 15

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Terminology For Video EffectsCompiled by: Andrew N. Mclellon, Television Consultant

This comparotive chart with occompanying definitions has been com-piled as a guide to the more frequently used videp production terms. It ex-plains and shows relationships of words and phrases used in television scnpfsand in studio practice which indicdte both ortistic snd technical "yisual"effects. These eflects may be accomplished by either mechonical, monual,optical or electronic means-or by o combinotion ol oll or any ol thesemethods.

Types of Shots Cqmero Technique Control Room Tec Verbol Cues

Angle ShotEistto-se-Up-

(BCU)1BoomThotr-

Angle Shot

Boom Up/Down

enilese

Diagonal Dissolve

DissolveDolly InlOut

DEFINITIONSTypes of Sfiots.'

Angle Shot-a camera technique inwhich a scene or object is shot froman unusual angle, such as an abnormalside view, down from a high boomlevel, or up from a low boom level.

Big Close-Up-A head shot, used toshow facial characteristics and reac-t-ions of a performer. Also, TightClose-Up. abb,r. BCLT (TCU) -

Boom Shot-An action taken bv thecamera using the camera boom'ihichallows greater radius in physical floorspace.

Close Shot-A shot taken at closerange.

Close-Up-A very narrow-angle pic-ture. e.9., head shot of a person.abbr. CU

Dolly Shot-A take which involvesmoving the camera while it is on theair. abbr. DS

Effect Shot-A particular or specialcamera shot that produces a desiredeffect.

Establishing Shot - A camera shot

which establishes the nature or loca-tion of the action by showing all im-portant aspects of the scene. abbr. ES

Follow Shot-The camela.follows theperformer, action or scene. abbr. FSor follow.

Long Shot-A shot taken from a dis-tance far enough away to include acomplete view of the scene. abbr. LS(Used as an Establishing Shot.)

Medium Close-Up-A waist-high cam-era shot, used for action scenes whenfaces of performers are to be seenclearly. abbr. MCU or Med. CU

Defocusing-A trick variation on thestandard dissolve. It is a transitionachieved by throwing one camera outof focus until the image is completelyblurred and unrecognizable, then thecut is made to another camera, equallyout of focus, and b.rought into focusrevealing the new image.Dolly In-To move the camera in fora closer shot.Dolly Out-To move backwards froma close shot to a position furtheraway from the object,-person or scene.

Follow Focus-The technique of con-stantly adjusting the focus of thecamera lens while the scene is beingshot. See also, Follow Shot,Follow Shot-The camera follows theperformer, action or scene while onthe air.Lateral Dissolve-A technique whichinvolves both a camera setup and acontrol technique. One su6ject isheld in the left field of one cameraand the second subject, or a differentview of the first subject, is held in theright field of a second camera. Onepicture is then diSsolved through theother on the air. The pictures may,or may not, be held at Half-Lap asrlesired. See also, Split Screen

-andHalf-Lap.Montage-A series of trictures as-sembled in juxtaposition in such amanner as to evoke emotional re-sponse through the powel of sug-gestion. A combined camera and con-trol technique by which two or moreimages-usually at least three-aremade to merge together on the air.Pan (Left, Right, Up or Down)-tomove the camera from left to riehtor right to left while followine ac-tion. Sometimes used to describe aTilt, although a true Pan alwaysmoves in the horizontal. Short forPanorama.

"BoomUp/Down"

Close Shot (CS)Close-Up (CU)

Cut "Cut...

Dony sh-;tlDstffieAf shot-

'DGsoIte. .lt-'Dolly In/Out'

EstablishingShot (ES)

Fade (Down)(Out)

FaAtiUpt-Gnt

"FadeDown/Out"zFadtTtril'-

Follow FocusF-llot Shot-

HalfIAp -

'T'ollo-t --l--Follow Shot(FS)

ta-p D-issolye'"Holdtt

terminology For V^deo Effects

Compiled by: Andrew N. McLellan, Television Consultant

H m

«/) m 73

This comparative chart with accompanying definitions has been com- piled as a guide to the more frequently used video production terms. It ex- plains and shows relationships of words and phrases used in television scripts and in studio practice which indicate both artistic and technical "visual" effects. These effects may be accomplished by either mechanical, manual, optical or electronic means—or by a combination of all or any of these methods.

Types of Shots Camera Technique Control Room Tec Verbal Cues

Angle Shot Angle Shot Big Close-Up

(BCU)1

Boom Shot2 Boom Up/Down "Boom Up/Down"

Chinese Close Shot (CS) Close-Up (CU)

Cut "Cut . . Diagonal Dissolve

Defocusinga

Dissolve "Dissolve . . Dolly Shot (DS) Dolly In/Out "Dolly In/Out" Effect Shot4

' Establishing

Shot (ES) Fade (Down)

(Out) "Fade

Down/Out" Fade (Up) (In) "Fade Up/In"

Follow Focus Follow Shot(FS) Follow Shot "Follow . . ."

Half-Lap "Hold"

Lap Dissolve5

DEFINITIONS Types of Shots: Angle Shot—a camera technique in which a scene or object is shot from an unusual angle, such as an abnormal side view, down from a hig'h boom level, or up from a low boom level.

Big Close-Up—A head shot, used to show facial characteristics and reac- tions of a performer. Also, Tight Close-Up. abbr. BCU (TCU)

Boom Shot—An action taken by the camera using the camera boom which allows greater radius in physical floor space.

Close Shot—A shot taken at close range.

Close-Up—A very narrow-angle pic- ture. e.g., head shot of a person, abbr. CU

Dolly Shot —A take which involves moving the camera while it is on the air. abbr. DS

Effect Shot—A particular or special camera shot that produces a desired effect.

Establishing Shot—A camera shot which establishes the nature or loca- tion of the action by showing all im- portant aspects of the scene, abbr. ES

Follow Shot—The camera "follows the performer, action or scene, abbr. FS or follow. long Shot—A shot taken from a dis- tance far enough away to include a complete view of the scene, abbr. LS (Used as an Establishing Shot.) Medium Close-Up—A waist-high cam- era shot, used for action scenes when faces of perfoimers are to be seen clearly, abbr. MCU or Mod. CU

Defocusing—A trick variation on the standard dissolve. It is a transition achieved by throwing one camera out of focus untxl the image is completely blurred and unrecognizable, then tne cut is made to another camera, equally out of focus, and brought into focus revealing the new image. Dolly In —To move the camera in for a closer shot. Dolly Out—To move backwards from a close shot to a position further away from the object, person or scene. Follow Focus—The technique of con- stantly adjusting the focus of the camera lens while the scene is being shot. See also, Follow Shot. Follow Shot—-The camera follows the performer, action or scene while on the air. Lateral Dissolve—A technique which involves both a camera setup and a control technique. One subject is held in the left field of one camera and the second subject, or a different view of the first subject, is held in the right field of a second camera. One picture is then dissolved through the other on the air. The pictures may, or may not, be held at Half-Lap as desired. See also, Split Screen and Half-Lap. Montage—A series of pictures as- sembled in juxtaposition in such a manner as to evoke emotional re- sponse through the power of sug- gestion. A combined camera and con- trol technique by which two or more images--usually at least three—are made to merge together on the air. Pan (Left, Right, Up or Down)—to move the camera from left to right or right to left while following ac- tion. Sometimes used to describe a Tilt, although a true Pan always moves in the horizontal. Short for Panorama.

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Long Shot (LS)IlIAiumTIoseTp

(MCU)Med-inmsh-ot-

(MS)oo{oEmF

I(rll

PanThot (pst-

Pro-cessSnoF-Reaction Shotr

Stan-Aa;ATons-Shot11

fi-cFtnGe.I]p(TCU)1'

FruAfisfrof--TwoTAoilTS.

2-S)

ZoornTnot--

Montage

Medium Shot-A shot taken by thecamera from middle distance. or fromknee level to above the head of per-former. abbr. MS

Pan Shot-A shot in which the cam-era is panned on a horizontal planeeither to the right or to the left.;bbr.PS (The scene must remain static.)

Process Shot-A camera shot whichutilizes glass 'slides, mirrors, mattsand/or background projection toachieve special and/or particular ef-fects, Also, Effect Shot.

Reaction Shot-A camera .shot (ortake), usually a Close-Up, specificailyused to register a performer's reac-tion to another performer's word(s)or actrlon.

Standard Long Shot-See Establish-ing Shot.

f ight Close-Up- See: Big-Close-Up.abbr. TCU

Truck Shot-A camera technique bywhich a line of performers (such as4 qho.rus line) or a scene is covered bydollying the camera alons the line o"fthe subjects or scene whil; it is on theair. In other words, to follow the ac-tion in any horizontal movement.

Two Shot-A close-up or medium shotholding two persons,-usually head andshoulders only, as the subject. Or, acamera shot of two obiects. To ,,neat-

lv_frame two subjects'i. abbr. TS, 2-S,2-Shot.

Zoom Shot-A shot in which the cam-era is zoomed, or moved, in or out ofthe scene very rapidly.

Camera Techniques:

Boom Up-The camera dolly is raised.thereby elevating the posifion of th6camera for a high head-on shot or atilted-down shot. See footnote 12.Boom Down-Opposite of above,Chinese-The feature of a cameradolly which allows the boom to berotated (generally 360'), thus allow-ing the camera to be moved in a"horizontal cir.cle" without moving thedolly.Diagonal Dissolve-Holding one cam-era image in the lower lef[-hand cor-ner and the second camera image inthe upper-right-hancl corner, and dis-solving them in on the air at halflap.Same as oblique dissolve. (A com-bined camera and control technique).

Split I'ocus-Adjusting the focus ofa camera lens midway between twosubjects when one is in the foregroundand the other is in the backEround.Generally done in Two-Shots to giveboth subjects equal dramatic value.

Split Screen-A combined camera andcontrol technique by which two pic-tures are held simultaneously-eachoccupying half the sslssn s1s6-sndat maximum definition so that bothare equally visible to the viewer. Seealso, Half-Lap.

Tilt (Up, Down)-A camera tech-nique by which additional portions ofa scene's area are shown by aiming thecamera vertically-up or down. Seealso, Pan,

Tonguing-The camera is raised orlowered and swunE out to left orlight in a continuous movement. Canonly be accomplished when the cam-era is mounted on a crane type dolly.

Trucking-To follou' in parallel mo-tion with a figure or object in mo-tion. See also, Truck Shot.

Whie-A very fast pan. Used to blurthe scene by the very speed of pan-nrng.

Zoom (In, Out)-See Zoom Shot.

Control Room Techniques:

Cut-A control technique by which ascene on a camera is instantaneouslyswitched on or off the air. Also. aninstantaneous change from one imageto another image; a sharp transition;suggests speed, shock, proximity;used to show reaction to an action andfor rapid-fire continuity to show dif-ferent aspects of the same subject.See also, Reaction Shot.

Diagonal Dissolve-See under CameraTechniques.

D.efocusing-See under Camera Tech-nrques.

Dissolve - The momentary overlap-

ping of an image produced by onecamera with that of another and thegradual elimination of the first imase.Similar to a superimposition exceptthat a dissolve is not held. Temoo lsslower than a Cut. Since speed of dis-

(Continued on page 2l)

"Ready""RoIl It"

rl

Supdimposiaion(Superimp)

SwmFGnst-TaE- .T;E '-

ii ,t i

mi-Up7Dfini'-;-rongurng

aTiIT-UilDownrt

Trucking "Truckwith...tt

WhipWipe aMpt. .-f--

aZoonr-

-Zoom*InTOut

In/Out . . ."r Motion picture term; use TCU i,n teleuisiott,2AIso: Boom (/7t & Tilt Doun (B|I-TD\ and Booqn Dotun & Tilt Up

(BD-TU).3 See also: Di,ssolue.+ See,also: Process Shot.s See also: Orerlup Dissohe.6 See also: Spl,it Screen.7 See also: TiIt.s Inclurles: Ba.ckgro.u.nd pt'ojection, Matt Shots, Glass Shots.t Us.ually a Close-Up.

1o See also: Lateral Dissoltle.tt Usuall?l estaltlishing shot.12 Sam,e as BC(.I in motion nictut"es.13 See also: Pan.

Lateral Dissolve6

Long Shot (LS) Medium Close-Up

(MCU) Medium Shot

(MS) Montage

Oblique Dissolve Overlap Dissolve

Pan Shot (PS) Pan Left/Right7

Pan Up/Down "Pan ..

Process Shot8

Reaction Shot9

"Ready" "Roll It"

Split Focus Split Screen10

Standard Long Shot11

Superimposition (Superimp)

Switch (ing) Take "Take"

Tight Close-Up (TCU)12 i.li .UIP! '

Tilt Up/Down13 "Tilt Up/Down" Tonguing

Truck Shot Trucking "Truck with . . Two Shot (TS,

2-S) Whip

Wipe "Wipe . . ." Zoom Shot Zoom In/Out "Zoom

In/Out . . ." 1 Motion picture term; use TCU in television, 2 Also: Boom Up & Tilt Down (BU-TD) and Boom Down & Tilt Up

(BD-TU). 3 See also: Dissolve. 4 See, also: Process Shot. 3 See also: Overlap Dissolve. G See also: Split Screen. 7 See also: Tilt. 3 Includes: Background projection. Matt Shots, Glass Shots. ^Usually a Close-Up.

10 See also: Lateral Dissolve. 11 Usually establishing shot. 12 Same as BCV in motion pictures.

^4 13 See also: Pan.

Medium Shot—A shot taken by the camera from middle distance, or from knee level to above the head of per- former. abbr. MS

Pan Shot—A shot in which the cam- era is panned on a horizontal plane either to the rig-ht or to the left. abbr. PS (The scene must remain static.)

Process Shot—A camera shot which utilizes glass slides, mirrors, matts and/or background projection to achieve special and/or particular ef- fects. Also, Effect Shot.

Reaction Shot—A camera shot (or take), usually a Close-Up, specifically used to register a performer's reac- tion to another performer's word(s) or action.

Standard Long Shot—See Establish- ing Shot.

Tight Close-Up—See: Big-Close-Up. abbr. TCU

Truck Shot—A camera technique by which a line of performers (such as a chorus line) or a scene is covered by dollying the camera along the line of the subjects or scene while it is on the air. In other words, to follow the ac- tion in any horizontal movement.

Two Shot— A close-up or medium shot holding two persons, usually head and shoulders only, as the subject. Or, a camera shot of two objects. To "neat- ly frame two subjects", abbr. TS, 2-S, 2-Shot.

Zoom Shot—A shot in which the cam- era is zoomed, or moved, in or out of the scene very rapidly.

Camera Techniques:

Boom Up—The camera dolly is raised, thereby elevating the position of the camera for a high head-on shot or a tilted-down shot. See footnote 12. Boom Down—Opposite of above. Chinese—The feature of a camera dolly which allows the boom to be rotated (generally 360°), thus allow- ing the camera to be moved in a "horizontal circle" without moving the dolly. Diagonal Dissolve—Holding one cam- era image in the lower left-hand cor- ner and the second camera image in the upper-right-hand corner, and dis- solving them in on the air at half-lap. Same as oblique dissolve. (A com- bined camera and control technique).

Split Focus—Adjusting the focus of a camera lens midway between two subjects when one is in the foreground and the other is in the background. Generally done in Two-Shots to give both subjects equal dramatic value.

Split Screen —A combined camera and control technique by which two pic- tures are held simultaneously—each occupying half the screen area—and at maximum definition so that both are equally visible to the viewer. See also, Half-Lap.

Tilt (Up, Down)—A camera tech- nique by which additional portions of a scene's area are shown by aiming the camera vertically—up or down. See also, Pan.

Tonguing—The camera is raised or lowered and swung out to left or right in a continuous movement. Can only be accomplished when the cam- era is mounted on a crane type dolly.

Trucking—To follow7 in parallel mo- tion with a figure or object in mo- tion. See also, Truck Shot.

Whip—A very fast pan. Used to blur the scene by the very speed of pan- ning.

Zoom (In, Out)—See Zoom Shot.

Control Room Techniques:

Cut—A control technique by which a scene on a camera is instantaneously switched on or off the air. Also, an instantaneous change from one image to another image; a sharp transition; suggests speed, shock, proximity; used to show reaction to an action and for rapid-fire continuity to show dif- ferent aspects of the same subject. See also, Reaction Shot.

Diagonal Dissolve—See under Camera Techniques.

Defocusing—See under Camera Tech- niques.

Dissolve — The momentary overlap- ping of an image produced by one camera with that of another and the gradual elimination of the first image. Similar to a superimposition except that a dissolve is not held. Tempo is slower than a Cut. Since speed of dis-

(Continued on page 21)

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The Gase For ll. Y.

In a recent issue of TELEVTSER,,Iohn L. Sinn, Pres., Zio TeleaisionPrograms, Ittc., stated, "We con-rede lhot Hu!t,!wood is tie best placeto film, prlgt'ams for teleaision."Tlte editors ltaue theref ore askeilMr. Burnltunr to state the case infattor of Neta York as a fiIm center.

IUIANY people who have not beenlVI adequately and closely asso-ciated r,vith the advertising messageassume commercial TV film produc-tion will follow network origina-tions.

Such is not the case. and wouldbe challenged by any of the majoragency principals. The productionof television commercials requiresalmost daily contact at many stagesof production between agency andsupplier. Account executives, copydepartment, art department, filmdepartment, as well as TV depart-ment executives generally are, andneed to be, in close proximity to theTV fllm supplier, even though theagency contact may be through asingle representative, and the samefor the film supplier.

There will, of course, always beexceptions to this rule of thumb.Some specialized TV film produc-tion can be anticipated in Holly-wood,.as well as in Europe, wherethe advertiser and his agency arewilling to go to great extra troubleand expense in order to have exclu-sivity as well as genuine talent.However, as soon as these far-awayproducers from advertising head-quarters get their product shown bya large group of advertiserg theadvantage of exclusivity will be lostand it will probably be apparentthat they haven't any more to offerthan the best New York film cre-ators for video.

I8

tr

MICHAEL LEVIN (left), of Ted Botes Agency, ond Jqck Zonder, Tronsfilm,confer on the filming of q Polmolive soop spot. lf film compony were not in

New York, look whot Mr. Levin might hove missed.

Film Production

by Williom Burnhom

Vice Pres. for Sales, Transfi,lm, Inc.

The swing to date has obviouslybeen toward New York as was to beexpected with the big bulk of billingplaced from here even though theadvertiser may be located else-where. Chicago is an odds on favor-ite to develop the second largest TVfilm business because it is secondonly to New York in agency billingplacements. The other major citiesin the country, including the veryrespectable local business originat-ing on the West Coast, will morethan handle the capacity of the fa-cilities there.

Advertiser and network execu-tives agree that for a top-budgetprogram entertainment film (notcommercials), Hollywood is far bet-ter equipped than New York at themoment. This company has beeninvited to participate in conversa-tions pertaining to the productionof such material and, up to now,has so advised these major custom-ers for films.

Hollywood is well-equipped withtheir facilities, talents and skills toprovide much of TV's program ma-

terial to the customer. It remainsto be seen just how well Hollywoodwill adjust itself to the big futurein this respect that television willoffer.

The TV fllm producer who suc-ceeds will learn to work closely withthe advertising agency, one .of themost complex of business organ-isms. Before the TV film producercan really get started, he mustprove to the agencies of substancea service viewpoint and an under-standing of agency problems. Hemust learn to bring his talents tothe interest of one of the most cre-ative of businesses and mesh hisknow-how with the agency's. Hemust cooperate with the agenciesand learn to think in three dimen-sions at once-advertising, film,entertainment. He must show theagency that he is willing to operateon sound business principle andmake good when he makes mistakes

-not make double-talk.How often have agencies been

burnt with the producer who willquote any price to get the firstorder, figuring to make it up on thenext and the next.

How often have agencies beefedwith reason: "These lads nevermeet their delivery dates. I refuseto get on the hook with my clientagain."

The New York film producers forTV enjoy the benefit of being thefirst to realize again the old axiom,"Selling Involves Promises; Busi-ness Involves Delivery On ThosePromises."

For these reaSons. we believe thecenter of TV commercial film pro-duction will continue to be NewYork where the center of the adver-tising: business may be expected toremain.

TELEVISER

The Case For N. Y.

Film Production

by William Burnham

Vice Pres. for Sales, Trans film Inc.

In a recent issue of Teliviser, John L. Sinn, Pres., Ziv' Television Programs, hire., stated, "We con- cede that PhMywood is the best place- to film, programs for television." The editors have therefore asked Mr. Burnham to stat^the case in favor of Neiv York as a film center.

MANY people who have not been adequately and closely asso-

ciated with the advertising message assume commercial TV film produc- tion will follow network origina- tions.

Such is not the case, and would be challenged by any of the major agency principals. The production of television commercials requires almost daily contact at many stages of production between agency and supplier. Account executives, copy department, art department, film department, as well as TV depart- ment executives generally are, and need to be, in close proximity to the TV film supplier, even though the agency contact may be through a single representative, and the same for the film supplier.

There will, of course, always be exceptions to this rule of thumb. Some specialized TV film produc- tion can be anticipated in Holly- wood, as well as in Flurope, where the advertiser and his agency are willing to go to great extra trouble and expense in order to have exclu- sivity as well as genuine talent. However, as soon as these far-away producers from advertising head- quarters get their product shown by a large group of advertisers, the advantage of exclusivity will be lost and it will probably be apparent that they haven't any more to offer than the best New York film cre- ators for video.

The swing to date has obviously been toward New York as was to be expected with the big bulk of billing placed from here even though the advertiser may be located else- where. Chicago is an odds on favor- ite to develop the second largest TV film business because it is second only to New York in agency billing placements. The other major cities in the country, including the very respectable local business originat- ing on the West Coast, will more than handle, the capacity of the fa- cilities there.

Advertiser and network execu- tives agree that for a top-budget program entertainment film (not commercials), Hollywood is far bet- ter equipped than New York at the moment. This company has been invited to participate in conversa- tions pertaining to the production of such material and, up to now, has so advised these major custom- ers for films.

Hollywood is well-equipped with their facilities, talents and skills to provide much of TV's program ma-

terial to the customer. It remains to be seen just how well Hollywood will adjust itself to the big future in this respect that television will offer.

The TV film producer who suc- ceeds will learn to work closely with the advertising agency, one .of the most complex of business organ- isms. Before the TV film producer can really get started, he must prove to the agencies of substance a service viewpoint and an under- standing of agency problems. He must learn to bring his talents to the interest of one of the most cre- ative of businesses and mesh his know-how with the agency's. He must cooperate with the agencies and learn to think in three dimen- sions at once—advertising, film, entertainment. He must show the agency that he is willing to operate on sound business principle and make good when he makes mistakes —not make double-talk.

How often have agencies been burnt with the producer who will quote any price to get the first order, figuring to make it up on the next and the next.

How often have agencies beefed with reason: "These lads never meet their delivery dates I refuse to get on the hook with my client again."

The New York film producers for TV enjoy the benefit of being the first to realize again the old axiom, "Selling Involves Promises; Busi- ness Involves Delivery On Those Promises."

For these reahons, we believe the center of TV commercial film pro- duction will continue to be New York where the center of the adver- tising business may be expected to remain.

mm lilt ^

i s i w '

, 1,M

\ m

MICHAEL LEVIN (left), of Ted Bates Agency, and Jack Zander, Transfilm, confer on the filming of a Palmolive soap spot. If film company were not in

New York, look what Mr. Levin might have missed.

18 TELEVISER

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Page 16: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

duties ond requirements of qTV chief engineer

tfiHE old trail blazers who believeI the pioneering days of televi-

sion are over should be reminded itwas not many months ago that theco-axial cable was pushed beyondthe Mississippi. A lot of trees re-main to be cut and stations built.

Whether it's exiransion of exist-ing stations or construction of newones, a lot of planning remains andthe chief engineer will bear hisshare. To him, the first phase ofplanning concerns the equipment,its layout and installation. Errorsmade here will make living verydifficult later. Fortunately, withover one hundred stations alreadyconstructed, the patterns have be-come rather well established andserious mistakes should no longeroccur.

Next comes the chief's task ofmaking it work. Operating practicesseem less well defined and with thevariations in individual station'sneeds, a considerable amount oftailoring may be required. As im-portant as any of the operatingproblems is the job of maintenance.

With some two or three hundredtubes in equipment for a remotepickup or several thousand in amodest studio plant, it is obviousthat maintenance may be a realproblem. Just the job of checkingtubes will consume many man hourseach week. Added to this, is the im-permanence of much of the main-tenance. Certain tubes requirerather frequent attention. This islikewise true of certain equipmentunits, in use but not fully inventedyet. Incomplete invention is evi-denced by the number and fre-quency of circuit changes recom-mended by the manufacturer. Thesecircuit changes add further to thedemand on maintenance man hours.

Addifie to the problem at thepresent time are the shortages ofreplacement parts due to war pro-duction. Old parts formerly dis-

carded must be repaired and re-used. Tubes must be graded andshifted with deterioration to lesscritical circuits. The complicationsof this problem all add up to moreman hours.

At some point in his planning, thechief engineer must determine whatkind of maintenance job he is ex-pected to deliver. In reaching: thisdecision, there are such considera-tions as the market, type of sta-tion, competition, and very obvious-Iy, financial ability of the station.

Just as surely as the chief kno'wshe must have some maintenance,he must likewise realize he cannotachieve 100/o maintenance etiher.If man hours were plotted againstlevel of maintenance, the curvewould rise very sharply in termsof man hours as it approached the100% maintenance mark. Briefly,the last 70% of maintenance, qual-ity-wise, is very costly. The chiefmust also consider that half a main-tenance job may be little betterthan no maintenance at all. Some-where he must find the level thatis applicable to bis particular sta-tion.

Once the level of maintenancehas been determined, the problemof application remains. Here there

are two methods. One is commonlyknown as "trouble fixing" and theother as the "preventive routine."Since the latter tends to reduceoutages as well as supplant theformer, it is obviously the pre-ferred method.

Some chiefs feel they haven'tenough help or cannot afford theluxury of the "preventive routine"and believe they are doing well justto keep up with troubleS as theyoccur. To some extent, this may betrue, but what is commonly over-looked is the amount of time nor-mally consumed in getting tools andtest equipment together in prepara-tion for the job. Often, it may takebut little additional time to com-plete a "preventive routine" whileflxing the trouble. As this is done,the frequency of breakdowns willdecrease and time available for"preventive routihe" increase. Theessential requirement is the exist-ence of a definite preventive plan. Ifworked in gradually, it will provea good investment and pay divi-dends.

In following the predeterminedlevel of maintenanee, it is impor-tant that the formula be appliedequally to all parts of the plant. Itis only natural for individuals totake special interest and develophieh skill in servicing certain equip-ments. Whereas it is advantageousto have specialists, this should notreach the point of leaving gaps inthe overall program.

One of the common weak points ismaintenance of film reproducing fa-cilities. There may be several rea-sons for this. First, the intermittentuse of the equipment throughoutthe broadcasting day may leavelittle time for any thorough main-tenance. Second, the impermanenseof maintenance on film equipmentcurrently in use is discouraging.Third, with so much mediocre filmin circulation, the result of workspent on film chains may be muchless rewarding than equal timespent on live pickup cameras.

It is not uncommon to hear achief say, "My film equipment is ingood shape. If the film is good, itlooks good ! If it's poor, it lookspoor !"

True enough, but all too often,there is failure to realize even poorfilm will not look quite so bad if theequipment is in top-notch condition.The excuse, "it's only fiIm," hasbeen much overworked. The publicis not too much interested in the

Chief PlqnningPoul F. Wittlig

CBS Teleuisi,on Network

3000 TV Stotions .

Congratulatins AT&T onthe opening of the first coastto coast microwave network.Wayne Coy. Chairman of theFCC, predicted that in fiveyears there should be 1500stations in operation. In tenyears the country would beserved by 2500 stations andeventually we may have asmany as 3000.

duties and requirements of a TV chief engineer

Chief Planning

Paul F. Wittlig CBS Television Network

THE old trail blazers who believe the pioneering days of televi-

sion are over should be reminded it was not many months ago that the co-axial cable was pushed beyond the Mississippi. A lot of trees re- main to be cut and stations built.

Whether it's expansion of exist- ing stations or construction of new ones, a lot of planning remains and the chief engineer will bear his share. To him, the first phase of planning concerns the equipment, its layout and installation. Errors made here will make living very difficult later. Fortunately, with over one hundred stations already constructed, the patterns have be- come rather well established and serious mistakes should no longer occur.

Next comes the chief's task of making it work. Operating practices seem less well defined and with the variations in individual station's needs, a considerable amount of tailoring may be required. As im- portant as any of the operating problems is the job of maintenance.

With some two or three hundred tubes in equipment for a remote pickup or several thousand in a modest studio plant, it is obvious that maintenance may be a real problem. Just the job of checking tubes will consume many man hours each week. Added to this, is the im- permanence of much of the main- tenance. Certain tubes require father frequent attention. This is likewise true of certain equipment units, in use but not fully invented yet. Incomplete invention is evi- denced by the number-and fre- quency of circuit changes recom- mended by the manufacturer. These circuit changes add further to the demand on maintenance man hours.

Adding to the problem at the present time are the shortages of replacement parts due to war pro- duction. Old parts formerly dis-

carded must be repaired and re- used. Tubes must be graded and shifted with deterioration to less critical circuits. The complications of this problem all add up to more man hours.

At some point in his planning, the chief engineer must determine what kind of maintenance job he is ex- pected to deliver. In reaching this decision, there are such considera- tions as the market, type of sta- tion, competition, and very obvious- ly, financial ability of the station.

3000 TV Stations . . . Congratulating AT&T on

the opening of the first coast to coast microwave network, Wayne Coy, Chairman of the FCC, predicted that in five years there should be 1500 stations in operation. In ten years the country would be served by 2500 stations and eventually we may have as many as 3000.

Just as surely as the chief knows he must have some maintenance, he must likewise realize he cannot achieve 100% maintenance etiher. If man hours were plotted against level of maintenance, the curve would rise very sharply in terms of man hours as it approached the 100% maintenance mark. Briefly, the last 10% of maintenance, qual- ity-wise, is very costly. The chief must also consider that half a main- tenance job may be little better than no maintenance at all. Some- where he must find the level that is applicable to his particular sta- tion.

Once the level of maintenance has been determined, the problem of application remains. Here there

are two methods. One is commonly known as "trouble fixing" and the other as the "preventive routine." Since the latter tends to reduce outages as well as supplant the former, it is obviously the pre- ferred method.

Some chiefs feel they haven't enough help or cannot afford the luxury of the "preventive routine" and believe they are doing well just to keep up with troubles' as they occur. To some extent, this may be true, but what is commonly over- looked is the amount of time nor- mally consumed in getting tools and test equipment together in prepara- tion for the job. Often, it may take but little additional time to com- plete a "preventive routine" while fixing the trouble. As this is done, the frequency of breakdowns will decrease and time available for "preventive routine" increase. The essential requirement is the exist- ence of a definite preventive plan. If worked in gradually, it will prove a good investment and pay divi- dends.

In following the predetermined level of maintenance, it is impor- tant that the formula be applied equally to all parts of the plant. It is only natural for individuals to take special interest and develop high skill in servicing certain equip- ments. Whereas it is advantageous to have specialists, this should not reach the point of leaving gaps in the overall program.

One of the common weak points is maintenance of film reproducing fa- cilities. There may be several rea- sons for this. First, the intermittent use of the equipment throughout the broadcasting day may leave little time for any thorough main- tenance. Second, the impermanence of maintenance on film equipment currently in use is discouraging Third, with so much mediocre film in circulation, the result of work spent on film chains may be much less rewarding than equal time spent on live pickup cameras.

It is not uncommon to hear a chief say, "My film equipment is in good shape. If the film is good, it looks good! If it's poor, it looks poor!"

True enough, but all too often, there is failure to realize even poor film will not look quite so bad if the equipment is in top-notch condition. The excuse, "it's only film," has been much overworked. The public is not too much interested in the

OCTOBER, 1951 19

www.americanradiohistory.com

Page 17: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

t-

mechanics. They want the enter-tainment and, if the picture qualityis poor enough to detract from it.they become annoyed. In th;writer's opinion, many a chief en-gineer is seriously damaging hisreputation by failing to strengthenthis weak link in his system.

Another vital point concerns plan-ning the staff. Many a chief engi-neer can't maintain his equipmentbecause he can't maintain his staff.He may face endless requests to usehis maintenance personnel on a mul-titude of chores such as playingrecords, running projectors or ser-vicing Mr. Vip's receiver. Thisprocess of erosion can wreck theentire program. Management canreadily understand why a camera-man is needed on a camera, a boomman on a boom or an audio man onan audio console, but maintenancework is something much more dif-ficult to visualize. Unless the chiefcan explain this to his managgmentin understandable form and keephis maintenance staff intact. hiscause may be a lost one.

d. spends approximately one hourreading newspapers dailyspends 12 an hour reading mag-azines daily

f. takes a 7Yz day vacation alrayfrom home

o During the summer, on theaverage day, in a television home:a. someone is at hotne in 70% of

the homes anytime between 9a.m. and 1 a.m. (average)

b. someone is watching televisionin 29/o of the homes anytimebetween 9 a.m. and 1 a.m. (aver-age)

c. hours of set usage decrease 159bfrom the winter usage ( 3/a of anhour less per home)

d. over 80% of the sets are useddaily, one-third are used dailybefore 5 p.m., three-quarters areused daily between 5 and 11p.m., and one-quarter are useddaily after 11 p.m.

a Half of the respondents saythey view television less during thesummer than f,uring the winter';one-quarter of the respondentsspend that time out-of-doors.

o An examination of three pro-grams that continued on throughthe summer, shows an average audi-ence loss of 10%. An examinationof three replacement programs,shows an average audience loss of42'/o for the time period.

The following figures show thesummer televiewing in televisionhomes, those homes where one ormore persons is watching televisionduring the indicated period:

a.m. 9.5%p.m. 8.6%p.m. 76.6%p.m. 25.7%p.m. 40.4%p.m. 59.0%p.m. 5L.5%a.m. 23.9%viewing 29.4%

TELEVISER

9-1111-1

1-3J-OD-I7-99-11

11-1Average

educo$on

trovel

indus$Y

science

ogriculture

Summer Vieuting

1[-| NE of the problems that yearly\-z presents itself to the televisionindustry is that of warm weatherand vacations. Does audience avail-ability and viewing decrease? If so,to what extent? Are there changesin viewing patterns occasioned byrvarm weather?

To record data on the presentsituation, as well as to provide zr

guide for next summer's opera-tions, Advertest Research, of Neu'Jersey, conducted a survey in 767TV homes over a nine day period,from August 3 to 1,1, 1951. Re-spondents in these homes werequestioned about their activities onthe previous day. An equal numberof interviews was conducted on eachday of the week. Controls provideda sample of half men and halfwomen. By this process of question-ing the individual about his ownimmediate activities, over a periodof nine days, an individual patternof activity for the average day wasobtained.

A summaly of the company'smajor findings are as follows:

a During the summer, the aver:-age individual in a television home:a. is at home 8 hours daily between

9 a.m. and midnightb. spends 21/2 hottrs watching tele-

vision dailyc. spends over an hour listening

to the radio daily

r-Irrtr-r

mechanics. They want the enter- tainment and, if the picture quality is poor enough to detract from it, they become annoyed. In the writer's opinion, many a chief en- gineer is seriously damaging his reputation by failing to strengthen this weak link in his system.

Another vital point concerns plan- ning the staff. Many a chief engi- neer can't maintain his equipment because he can't maintain his staff. He may face endless requests to use his mamtenance personnel on a mul- titude of chores such as playing records, running projectors or ser- vicing Mr. Yip's receiver. This process of erosion can wreck the entire program. Management can readily understand why a camera- man is needed on a camera, a boom man on a boom or an audio man on an audio console, but maintenance work is something much more dif- ficult to visualize. Unless the chief can explain this to his management in understandable form and keep his maintenance staff intactBhis cause may be a lost one.

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Summer Viewing

ONE of the problems that yearly presents itself to the television

industry is that of warm weather and vacations. Does audience avail- ability and viewing decrease? If so, to what extent? Are there changes in viewing patterns occasioned by warm weather?

To record data on the present situation, as well as to provide a guide for next summer's opera- tions, Advertest Research, of New Jersey, conducted a survey in 767 TV homes over a nine day period, from August 3 to 11, 1951. Re- spondents in these homes were questioned about their activities on the previous day. An equal number of interviews was conducted on each day of the week. Controls provided a sample of half men and half women. By this process of question- ing the individual about his own immediate activities, over a period of nine days, an individual pattern of activity for the average day was obtained.

A summary of the company's major findings are as follows:

• During the summer, the aver- age individual in a television home: a. is at home 8 hours daily between

9 a.m. and midnight b. spends 21/2 hours watching tele-

vision daily c. spends over an hour listening

to the radio daily

MOTION

PICTURES

for TV

Write for fully

descriptive catalog

• Shorts • 2 Reelers • Feature Pictures c Educational Musicals

d. spends approximately one hour reading newspapers daily

e. spends Vz an hour reading mag- azines daily

f. takes a 7% day vacation awTay from home

• During the summer, on the average day, in a television home; a. someone is at hotne in 70% of

the homes anytime between 9 a.m. and 1 a.m. (average)

b. someone is watching television in 29% of the homes anytime between 9 a.m. and 1 a.m. (aver- age)

c. hours of set usage decrease 15% from the winter usage (% of an hour less per home)

d. over 80% of the sets are used daily, one-third are used daily before 5 p.m., three-quarters are used daily between 5 ana 11 p.m., and one-quarter are used daily after 11 p.m.

• Half of the respondents say they view television less during the summer than during the winter; one-quarter of the respondents spend that time out-of-doors.

• An examination of three pro- grams that continued on through the summer, shows an average audi- ence loss of 10%. An examination of three replacement programs, shows an average audience loss of 42% for the time period.

The following figures show the summer televiewing in television homes, those homes where one or more persons is watching television during the indicated period:

International IGirnn Corp. 165 West 46th Street, New York 19, N, Y.

9-11 a.m. 9.3% 11-1 p.m. 8.6% 1-3 p.m. 16.6% 3-5 p.m. 25.7% 5-7 p.m. 40.4% 7-9 p.m. 59.0% 9-11 p.m. 51.5%

11-1 a.m. 23.9% Average viewing 29.4%

for comp/efe /isf o# te/evision fi/ms write

BRITISH

INFORMATION SERVICES 30 ROCKEFEUER PLAZA, N. Y, 20, N Y

20 TELEVISER

www.americanradiohistory.com

Page 18: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

VIDEO TERMS

(Continued from page l7)solve can be contlolled it is used toeffect smooth tlansitions and is. there-fore, easy on audience's eyes. Usu-ally used to indicate a change inplace or to follow the progression ofa character.Fade Down, (Out)-To electronicallyleduce the signal strength so thatthe picture disappears gradually.Fade Up, (In)-Opposite to FadeDown (Out).Fade-Grey-Consists of ploducing aneven grey screen without cutting thesignal off the air completely.Fade-White-Produced by increasingthe intensity of the image to producean all-white screen.

Fade-Black-Opposite to Fade-White.Half-Lap-A control technique bywhich two pictures in a dissolve (oroverlap) are both held at maximumsimultaneous definition (30Vo each)so that both are visible to the viewer'.Lap Dissolve-A control technique bywhich a picture held by one camerais made to'merge with another cam-era-picture on the air. To hold bothpictures at half-lap so that the re-sulting "montage" can be seen be-fore one or the other is taken out.Lateral Dissolve-See under CameraTechniques.Montage-See under Camera Tech-nrques.

Oblique Dissolve-See Diagonal Dis-sorve.

Overlap Dissolve-See Lap Dissolve.

Sp,lit Screen-See under Camera Tech-niques,

Superimposition-The overlapping ofan image producecl by one camerawith the image from another cam-era; blending or merging of twoimages to any desired ievel. Used tobring together two images that nor-mally cannot be seen together; putstwo scenes into an association withone another; to make an aucliencethink two thoughts at the same time.abbr. Superimp.Switch(ing)-A control technique in-volving the jnstantaneous cuttingflom one camet'a to another', in otdei'to get a change of picture. See also,Cut.Take-To televise a scene for trans-mission. A scene so televised (orfilmed). Also, a command to switcha camera on the sir-'(!sks Qns".Wipe-In a true wipe the line ofrlemarcation between two nicturesmoves eithel holizontally or ver.ticallyas the area of one grows larger. andthe other smaller. It can be used toassociate a character in one locationv'ith a character in another location,and since it produces a smootlr tlansi-tion it does not disturb the vieu'er'.

Verbol Cues:Hold-Dilection to camer.anran ortl:r.-

OCTOBER, I95I

ing him to keep his camera where itis. ("Hold two on girl at door").Ready-Dilection to camelaman in-structing him to iine up his camerafor the following shot. ("Ready threefor Close-Up of John at fireplace".)Roll It-A cue to start the film pro-jector. ("Ready film sequence four'. Roll it!")Note: All other Cues are self-ex-planatory.

PROMOTION(Continued from page 8)

palts of the city. The occasion wasthe introduction of a new motionpicture series, the kick:off movieof which was The Great John L.The trailer contained two muscle-men representing John L. Sullivanand opponent in a portable boxingring. As a follow-up, the two menand ring appeared on several KTTVprograms,

In similar fashion, WOR-TV hada man dressed in a baseball uniformwalk down populated Brooklynstreets handing out miniature base-ball bats announcing the Dodgerbaseball games were being televion WOR-TV. The outlet alsoin for window displays, as do anumber of other stations aroundthe country. One is in their ownoffice building, others are set up invarious stores around New York. Awoman's show, for example, wasrecently promoted in a lingerieshop. The Judy King Shoto, onWHIO-TV, Dayton, and a travelservice advertisel, are plugged inan inviting window display on thepleasures of a vacation in tropicalJamaica.

Gifts

Occasionally a program is pro-moted via the distribution of spe-cial gifts. CBS-TV announced theSchlitz Playltouse b)' sending out

lamps made from Schlitz beerbottles with the name of the re-cipient imprinted on them. NBC-TVdistributed alarm clocks with stick-ers over the hours 11 A.M. to 1

P.M. announcing that the networkwas opening these hours to adver-tisers. Lights Out was promotedwith practical kerosene lanterns.Tales of Tontotrow, a new science-flction series on ABC-TV, sent outsmall telescopes for peering-into-the-future purposes.

To see how one station utilizespromotion to enhance the sales ef-fectiveness of television, the activi-ties of KGO-TV, San Francisco,might well be examined. Owned bythe American Broadcasting Com-pany, KGO-TV is represented na-tionally by ABC-TV Spot Sales,which constitutes the sales per-sonnel of ABC's.. stations in SanFrancisco, Hollywood, New York,Chicago and Detroit. Therefore,KGO-TV's sales promotion materialis distributed to approximatelythirty salesmen in these five mar-kets. It includes:

Fact Slrcets: To cover all locally

MUSIC SERVICEIN TDLEVISIOT

?"':$::.:'Jl "", t"L nli i:i:...l".jl]". ;;;';.i"s to 5c;t1

[ir+ittf:':]iiil;i;

r+$s:*';ilil; other essential ele-

ments of television -rnuslc'

i:w.il'il' #H[ i'?tl:"e.r.icred

right to Perlormit. oast and varied musrc

"u,.log,.a fro-m anY source

jli"-l nr-ta or recorded'

BMI cordiallY invites in-

Fii* ;';*.1*,.::l: "il': :

'f;;;;i or most sPecific

ipiii"*i""t' at a'Y timc'ffi*;

l{mlonruSruonsr45 W. 45 3r.. N.Y. t9. N.V

VIDEO TERMS {Continued from page 17)

solve can be controlled it is used to effect smooth transitions and is, there- fore, easy on audience's eyes. Usu- ally used to indicate a change in place or to follow the progression of a character. Fade Down, (Out)—To electronically reduce the signal strength so that the picture disappears gradually. Fade Up, (In)—Opposite to Fade Down (Out). Fade-Grey—Consists of producing an even grey screen without cutting the signal off the air completely. Fade-White—Produced by increasing the intensity of the image to produce an all-white screen. Fade-Black—Opposite to Fade-White. Half-Lap—A control technique by which two pictures in a dissolve (or overlap) are both held at maximum simultaneous definition (30% each) so that both are visible to the viewer. Lap Dissolve—A control technique by which a picture held by one camera is made to merge with another cam- era-picture on the air. To hold both pictures at half-lap so that the re- sulting "montage" can be seen be- fore one or the other is taken out. Lateral Dissolve—See under Camera Techniques. Montage—See under Camera Tech- niques. Oblique Dissolve—See Diagonal Dis- solve. Overlap Dissolve—See Lap Dissolve. Split Screen—See under Camera Tech- niques. Superimposition—The overlapping of an image produced by one camera with the image from another cam- el a; blending or merging of two images to any desired level. Used to bring together two images that nor- mally cannot be seen together; puts two scenes into an association with one another; to make an audience think two thoughts at the same time, abbr. Superimp. Switch(ing)—A control technique in- volving the instantaneous cutting from one camera to another, in order to get a change of picture. See also, Cut. Take—To televise a scene for trans- mission. A scene so televised (or filmed). Also, a command to switch a camera on the air—"Take One". Wipe—In a true wipe the line of demarcation between two pictures moves either horizontally or vertically as the area of one grows larger and the other smaller. It can be used to associate a character in one location with a character in another location, and since it produces a smooth transi- tion it does not disturb the viewer.

Verbal Cues: Hold—Direction to cameraman order-

ing him to keep his camera where it is. ("Hold two on girl at door"). Ready—Direction to cameraman in- structing him to line up his camera for the following shot. ("Ready three for Close-Up of John at fireplace".) Roll It—A cue to start the film pro- jector. ("Ready film sequence four . . . Roll it!") Note: All other Cues are self-ex- planatory.

PROMOTION {Continued from page 8)

parts of the city. The occasion was the introduction of a new motion picture series, the kick:off movie of which was The Great John L. The trailer contained two muscle- men representing John L. Sullivan and opponent in a portable boxing ring. As a follow-up, the two men and ring appeared on several KTTV programs.

In similar fashion, WOR-TV had a man dressed in a baseball uniform walk down populated Brooklyn streets handing out miniature base- ball bats announcing the Dodger,, baseball games were being televised! on WOR-TV. The outlet also goes' in for window displays, as do a number of other stations around the country. One is in their own office building, others are set up in various stores around New York. A woman's show, for example, was recently promoted in a lingerie shop. The Judy King Show, on WHIO-TV, Dayton, and a travel service advertiser, are plugged in an inviting window display on the pleasures of a vacation in tropical Jamaica.

Gifts

Occasionally a program is pro- moted via the distribution of spe- cial gifts. CBS-TV announced the Schlitz Playhouse by sending out

y/*«4 stR]ps

fackg'oUI

ofProJ

lamps made from Schlitz beer bottles with the name of the re- cipient imprinted on them. NBC-TV distributed alarm clocks with stick- ers over the hours 11 A.M. to 1 P.M. announcing that the network was opening these hours to adver- tisers. Lights Otit was promoted with practical kerosene lanterns. Tales of Tomorrow, a new science- fiction series on ABC-TV, sent out small telescopes for peering-into- the-future purposes.

To see how one station utilizes promotion to enhance the sales ef- fectiveness of television, the activi- ties of KGO-TV, San Francisco, might well be examined. Owned by the American Broadcasting Com- pany, KGO-TV is represented na- tionally by ABC-TV Spot Sales, which constitutes the sales per- sonnel of ABC A stations in San Francisco, Hollywood, New York, Chicago and Detroit. Therefore, KGO-TV's sales promotion material is distributed to approximately thirty salesmen in these five mar- kets. It includes:

Fact Sheets: To cover all locally

BM1

MUSIC SERVICE |]V TELEX ISIOIV

Service is oneofdw bast theme songs of BMX. ie visors are using to excel- lent advantage many "t the programming aids p vided by BM1 . • • saleable and useful program conti- nuities, research facilities, expert guidance in music library operations, conctr music information, and all of the other essential ele- ments of television music. Along with Music Service in TV, BMI grants the un- restricted 'ight to perform its vast and varied mu ic -atalogue from any source live, filmed or recorded. BMI cordially invites m- nuiries on the subject of Music in Television, m tls broadest or most spedhc applications, at any time.

5END FOR. fREE CATALOG-UE

National Studios 145 W.4SST., N.Y. I9.N.Y.

BROADCAST MUSIC, INC. 580 FIFTH AVE., NEW YORK 19 NEW YORK • CHICAGO • HOLLYWOOD

OCTOBER, 1951 21

www.americanradiohistory.com

Page 19: OCTOBER, 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE ... · Special effects, animation, trick photography, original lettering, especially suited to the mood of your sales

available programs on KGO-TV,single-page fact sheets giving time,day, format, talent, commercialtime and treatment and programand/or participation cost, plusnotes on any special features of theshow, are supplied individually toeach ABC-TV spot salesman.

Sales Tips: Inaugurated lastspring, the KGO-TV sales tips areweekly newsletters addressed indi-vidually to each of the thirty ABC-TV spot salesmen. These mailingsgive brief condensations of all newlocally available programs, covelissuance of fact sheet replacements,tell of awards or publicity breaksand quote excelpts from reviewsand success letters on availableprograms. To maintain a steadyllow of cuuent sales informationvia the sales tips, a member of theplomotion department .attends theweekly TV sales meetings, makingnote of all information to be passedon to the other officers.

Pltotogra,ph,s': A complete set ofphotographs covering all local avail-able programs has been sent pro-motion managers of the other forirowned stations. Prints on new localprograms are sent these offices as

the programs become available. Itwas suggested that the other sta-tions have additional prints madefrom the file copies as they areneeded.

Mimeo'cl Broch,tn'es: To give :rmore detailed picture of a palticu-lar program (usually a participat-ing show r, mrrlti-page mimeo-graphed brochures are sent agencieson KGO-TV's mailing list, coveringall of the nation's advertising cen-ters-San Francisco. New York.Los Angeles, Philadelphia, Chicago,etc.

Printecl Brocltu,t'es: Programswhose popularity assure their con-tinuance are covered via easy-to-carry pocket presentations. Thistype of presentation is risuallyIimited to participating plogramsand is designed, copy-wise, to as-sule maximum timeliness.

Colutrtn Reprints: Reprints oflocal television columnists' reviewsof locally available progr-ams aresent salesmen and agency menon KGO-TV's large mailing Iist.Columns of an institutional natule,such as the results of a popularitypoll, are also reproduced and mailedto agencies and ABC-TV spot sales-men.

Success Letters: In addition tobeing quoted in the rveekly salestips, success letters are reproducedand distributed to all ABC-TV spotsalesmen and, frequently, to agen-cies. As with all KGO-TV sales pro-motion material, an adequate sup-ply of extra copies of these reprintsis sent promotion managers of theother ABC-owned stations.

Institutional Pieces: To point outthe production and programmingknow-how of Northern California'sonly network owned television sta-tion, institutional brochnres onKGO-TV public serice plogramsand events are sent agencies andABC-TV salesmen.

Promotionol Thinking

What is the thinking of the menresponsible for TV promotional ma-terial? R. C. Wright, Asst. Com-mercial Manager of WXEL, Cleve-land, writes us: "OLrr person:rl feel-ing in regard to sales promotion isthat the best effort the station canmake is the distribution of corlectand complete infolmation. We re-gard this as much more importantthan any gimmick or sensational-type mailings or. advertisements.This . thinking' is based on the

premise that the majority of salesare made through trained bnyerswho may be amused by quaint ad-vertisements or items in the morn-ing mail, but do their buying onthe basis of facts."

Mr. Wright's opinion seems to besubstantiated by the comments ofthe head time buyer of a leadingad agency. He revealed that all pro-motion pieces are automaticallyrouted to the agency's research de-partment for evaluation. Materialfound to have valuable points isflled according to market (occa-sionally by program category) andreferred to when needed.

"My experience with televisionsales promotion," r,vrites Burt Top-pan, Promotion Manerger of WTVJ,Miami, "is that it can be expectedto be of a changing nature duringthe flrst years that .the televisionstation is on the air'.

"When WTVJ began operating inMarch, 1949, our flrst job rvas tosell everyone, local and national, onthe fact that Miami now had a TVstation. After that was accom-plished u'e had to sell the idea na-tionally that Miami rvas a desirableTV market. Our promotion at thattime stressed every new set thatwe had in the area. In addition tothat was the supplying cf agencieswith market data on the GreaterMiami area. As time went on andWTVJ had a healthy audience of80,000 sets in a respectable marketarea of 680,000 people-promotioncentered on selling television overother media and then specific timeson WTVJ. Right now almost all ofour promotional material is aimedat establishing all daytime TV andparticularly morning TV."

Summing up the over.all strategyof sales promotion, John Fuller.head of the NBC-TV Sales promo-tion Department, told us: ,,The firstobjective is to make information onprograms and availabilities gen_erally knorvn. The second step is tollarrow it down and stimulate activeinterest. In othel words, first ztshotgun technique of spraying out!h. information, followecl by irhard-hitting rifle technique pin-pointing the sales message.',

Oliver Treyz, head of sales de-velopment for. ABC, stated snc-cinctly the purpose of sales promo-lion. It is "to get new business antlhold the old."

That's a good job if yor"r can d<rit. And if you can, you're doing agood job for the entire industrv.

SPOTSo ovER 100

. SPOTS oN

. THE AIR FOR

. AMERICA'S

. LARGEST

O ADVERTISERS-

O PRODUCED BY

Gr aY-0n ReillY480 LEXTNGTON AVE'' NEW YORK

PLAZA 3-1531

available programs on KGO-TV, single-page fact sheets giving time, day, format, talent, commercial time and treatment and program and/or participation cost, plus notes on any special features of the show, are supplied individually to each ABC-TV spot salesman

Sales Tips: Inaugurated last spring, the KGO-TV sales tips are weekly newsletters addressed indi- vidually to each of the thirty ABC- TV spot salesmen. These mailings give brief condensations of all new locally available programs, cover issuance of fact sheet replacements, tell of awards or publicity breaks and quote excerpts from reviews and success letters on available programs. To maintain a steady flow of current sales information via the sales tips, a member of the promotion department .attends the weekly TV sales meetings, making note of all information to be passed on to the other officers.

Photographs': A complete set of photographs covering all local avail- able programs has been sent pro- motion managers of the other four owned stations. Prints on new local programs are sent these offices as

SPOTS

• OVER 100

• SPOTS ON

• THE AIR FOR

• AMERICA'S

• largest

• advertisers—

• PRODUCED BY

Gray-O'Reilly

480 LEXINGTON AVE., NEW YORK PLAZA 3-1531

the programs become available. It was suggested that the other sta- tions have additional prints made from the file copies as they are needed.

Mimeo'd Brochures: To give a more detailed picture of a particu- lar program (usually a participat- ing show), multi-page mimeo- graphed brochures are sent agencies on KGO-TV's mailing list, covering all of the nation's advertising cen- ters—San Francisco, I^ew York, Los Angeles, Philadelphia, Chicago, etc.

Printed Brochures: Programs whos« popularity assure their con- tinuance are covered via easy-to- carry pocket presentations. This type of presentation is usually limited to participating programs and is designed, copy-wise, to as- sure maximum timeliness.

Column iReprints: Reprints of local television columnists' reviews of locally available programs are sent salesmen and agency men on KGO-TV's large mailing list. Columns of an institutional nature, such as the results of a popularity poll, are also reproduced and mailed to agencies and ABC-TV spot sales- men.

Success Letters: In addition to being quoted in the weekly sales tips, success letters are reproduced and distributed to all ABC-TV spot salesmen and, frequently, to agen- cies. As with all KGO-TV sales pro- motion material, an adequate sup- ply of extra copies of these reprints is sent promotion managers of the other ABC-owned stations.

Institutional Pieces: To point out the production and programming know-how of Northern Caiifornia's only network owned television sta- tion, institutional brochures on KGO-TV public serice programs and events are sent agencies and ABC-TV salesmen.

Promotional Thinking

What is the thinking of the men responsible for TV promotional ma- terial? R. C. Wright, Asst. Com- mercial Manager of WXEL, Cleve- land, writes us; "Our personal feel- ing in regard to sales promotion is that the best effort the station can make is the distribution of correct and complete information. We re- gard this as much more important than any gimmick or sensational- type mailings or advertisements. This _ thinking is based on the

premise that the majority of sales are made through trained buyers who may be amused by quaint ad- vertisements or items in the morn- ing mail, but do their buying on the basis of facts."

Mr. Wright's opinion seems to be substantiated by the comments of the head time buyer of a leading ad agency. He revealed that all pro- motion pieces are automatically routed to the agency's research de- partment for evaluation. Material found to have valuable points is filed according to market (occa- sionally by program category) and referred to when needed

"My experience with television sales promotion," writes Burt Top- pan, Promotion Manager of WTVJ, Miami, "is that it can be expected to be of a changing nature during the first years that .the television station is on the air.

"When WTVJ began operating in March, 1949, our first job was to sell everyone, local and national, on the fact that Miami now had a TV station. After that was accom- plished we had to sell the idea na- tionally that Miami was a desirable TV market. Our promotion at that time stressed every new set that we had in the area. In addition to that was the supplying of agencies with market data on the Greater Miami area. As time went on and WTVJ had a healthy audience of 80,000 sets in a respectable market area of 680,000 people—promotion centered on selling television over other media and then specific times on WTVJ. Right now almost all of our promotional material is aimed at establishing all daytime TV and particularly morning TV."

Summing up the overall strategy of sales promotion, John Fuller, head of the NBC-TV Sales Promo- tion Department, told us: "The first objective is to make information on programs and availabilities gen- erally known. The second step is to narrow it down and stimulate active interest. In other wordff first a shotgun technique of spraying out the information, followed by a hard-hitting rifle technique pin- pointing the sales message."

Oliver Treyz, head of sales de- velopment for ABC, stated suc- cinctly the purpose of sales promo- tion. It is "to get new business and hold the old."

That's a good job if you can do it. And if you can, you're doing a good job for the entire industry.

22 TELEVISER

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