We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
CHOOSING FILMS FORTY 247 Broadcasting Magazine (Weekly) FM and TV Digest, published weekly by Martin Codel, Washington, D. C. This is a news letter type of periodical. Two or three times a year a complete directory of all program sources and TV stations is issued. Televiser (Monthly) Television (Monthly) Tele-Tech (Monthly) has an annual Studio/Producer directory and technical TV station information monthly. The costs of film rental vary considerably and it is most prob- able that they will increase before the end of 1950. They are usually charged in a manner similar to the movie theatre film rentals. The latter is either a fixed charge for a feature, or a per- centage of the gross door, or box office, take. In the latter case, there is usually a minimum charge so that in the event of low attendance the distributor will not lose. A common figure is 30 per cent of the gross or a minimum of $12.50 (this is for either a very isolated house or a "last run" theatre) : this figure was quite common in parts of Canada and the west. It will be seen that the cost increases with the audience. In television this is also true, and for general pricing purposes the country is divided into four parts with a different rental in each sector. Of course, it is highest in the east where there are the most people with television receivers. As the density of television receiver ownership increases and more people see the programs, the cost of films is bound to increase. The motion picture and television have so much in common that it is almost impossible to foresee how television could make any progress without its help. It should be remembered that they both are shadows on a screen or a kinescope tube: they are each made in the same way; that is, away from the audience that will see the finished product. They are products of a team of skilled artisans whose presence is never apparent in the finished article and who are everywhere in sight during its creation. But when the show is seen by the public for whom it is produced, these workers are absent. Very similar equipment is used—lights, sound