International projectionist (Jan-Dec 1946)

THE forward march of television was given strong impetus during the past month as the Radio Corp. of America and the Columbia Broadcasting System demonstrated their respective systems of black-and-white and color video. At the same time the controversy between these two titans of the broadcast world passed from the genteel stage of interminable and decorous publicity releases to a point where the contestants aired their differences in public. CBS advocates a delay in introducing television until such time as it can be ushered in full-blown, so to speak, in one neatly wrapped package including color. This delay, says CBS, need not exceed a year, but the sale of home video sets at this time will result in obsolescence within a few years. RCA, on the other hand, holds that an acceptable color television system will require at least five years, but since black-and-white video is now wholly acceptable, technically, it should be introduced promptly. As for the obsolescence angle stressed by CBS, RCA points out that this is the inevitable price of progress in any field, and adds that further delay on tele will tend to stagnate the art. CBS adherents, although not its officials, hint that the RCA stand reflects the latter's extensive manufacturing interests, as contrasted with the CBS intention to farm out its manufacturing activities. Thus the opposing viewpoints. Mechanical Color Systems The RCA demonstration included not only color pictures in three dimensions but also vastly improved black-and-white showings. The three-dimensional effect is obtained, of course, by the use of special polarized filters in the camera and the receiver, and polarized glasses worn by the spectators, the latter being similar to the analyzers used for viewing the experimental three-dimensional movies made in the past. The black-and-white images were transmitted by radio from New York City to Princeton, N. J., a distance of 47 miles; the color images were similarly transmitted over a distance of 2% miles. The CBS showing, also via radio, encompassed a distance of 12 N. Y. City blocks, from the Chrysler Tower to the CBS studios. RCA utilized "live" studio talent; while CBS employed film and slides. Both RCA and CBS use practically the same means for producing color television, the three basic colors — red, green, and blue — being reproduced by mechanically revolving discs or cylinders. This reproducing means is frowned upon by RCA as unsuited for the home and as representing no advancement on identical experiments tried out and abandoned by the motion picture industry in 1911. The RCA goal is an all-electronic color tele system employing no moving parts. RCA lent emphasis to its stand by showing its color system and immediately terming it "obsolete." RCA Receivers, Transmitters It was generally agreed that RCA showed the best black-and-white tele images seen to date, on a screen measuring^1/^ x 6 inches embodied in a table model direct-viewing set. Such sets, retailing from less than $200 to $300 will afford a screen size up to 6 x 8 inches. Sometime later in 1946 receivers featuring pictures 15 x 20 inches will be available for about $500. RCA will also manufacture tele transmitters for large and small broadcasters. A new camera employs the Image Orthicon tube, a wartime development, which is credited with *'seeing" by candlelight and can pick up any event or scene discernible to the human eye. This makes possible round-the-clock programming, since hght is no longer a problem. A three-camera unit with associated radio transmitting apparatus for relaying remote or outdoor programs to the main transmitter now can be carried in a station-wagon, whereas earlier equipment was so bulky that two 10-ton trucks had to be used. CBS was adjuged to have the best color rendition, but it follows that if and when all-electronic sets are available comparison on the basis of existing mechanical systems will be meaningless. Network Television Plans NBC plans envisage a new and improved transmitter atop the Empire State Building in N. Y. city and the building during 1946 of stations in Washington, D. C, Los Angeles, Cleveland and Chicago. Local networks will be meshed into a regional setup, and the latter will within several years develop a national network. Eventually coast-to-coast network television will be made possible by automatic relay stations, coaxial cable and stratovision (the system employing planes as described elsewhere in these pages). Amid the welter of announcement and pronouncement anent the video art there exists a deep silence relative to programming, that is, what the purchaser of a television set may expect to see from day to day. Obviously, current events, especially sports which are expected to play an important role in television broadcasting, hardly can be expected to provide sufficient entertainment to sufficiently compensate the tele set buyer. Great stress is laid upon the important role that films will play in television. One RCA official, when questioned as to the probable effect of television upon the motion picture industry, said that the "Hollywood studios" will be kept humming turning out film productions for television transmission. Effect on Movie Theatre Significant for those in the exhibition field, there is no mention made of what role, if any, will be played by the motion picture theatre. The strident voices that for many years proclaimed the importance of the "television theatre" now are strangely stilled. Nor does it seem that anybody in the motion picture business has stirred himself to ascertain the effect of television upon the film industry, even in terms of Hollywood production, much less in terms of the exhibition field. Whatever the differences that exist between RCA and CBS on the technical nicities of the video art, it is obvious that both these parties, and all the others who are interested in furthering television, will shortly slip into high gear and buckle down to putting over this baby of the communication arts. Who pays how much for what and when must necessarily be of minor consequence to those thousands engaged in the motion picture exhibition field. Once television sets start coming off the production line in any appreciable numbers, there would seem to be no lack of potential customers therefor, irrespective of the obsolescence angle. And once a few transmitters are in operation over an area important in terms of a consumer audience, support for television in the form of advertising dollars is inevitable. This fact, in itself, will force an answer to the question of programming — and the art may be expected to develop by leaps and bounds from there on. Just where all this leaves the picture (Continued on page 29) 14 OTERNATIOIVAL PROJECTIONIST