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- 9 - TV TECHNICAL TIPS NO. 2 Cecil S. Bidlack NAEB TV Engineer If Educational Television is to build the audience it deserves, staff members of the individual stations must be super critical not only of program content and production but of the technical aspects of its operation as well. Contributing to the popularity of the educational radio station was the fact that there were no commercials, the programs included considerable good music, both classical and popular, and the technical standards of the station could be maintained fairly easily. Because of its complex nature, a good educational television program will be achieved only if careful attention is given to details of program, pro¬ duction, and engineering. On the program side, educational television cannot hope to compete on a populari¬ ty basis with the network extravaganzas whose single program budget would run the educational station for a year. However there is enough sameness in commercial programming so that educational stations can appeal to those discriminating people who are tired of variety shows, hard luck stories, and often-repeated movies. On the production side, we can compete, especially at the local level, with other stations in the community. Engineering-wise we are in direct competition . Good picture quality and operating practices are a big help to program and production in putting their output across to the public. First let's talk about television audio. Everyone concentrates on the picture and audio is only incidental to those just starting in television production. As a check on your audio quality turn the picture off and listen critically to TV audio in a quiet room. You’ll be amazed at the things you can hear. Most control rooms are noisy—there’s air conditioning.noise, blower noise and conversation. No wonder we are not aware of studio noises made by talent, the shifting of props, and the shuffling of the cameramen’s feet as they dolly in and out, or the noise of the floor man whipping his PL cable to get more slack. If you add to this no sound treatment in the studio, a faulty boom mike suspension, and no effort to talk the boom mike into a proper position, (as low as possible and out in front of the performer) you are operating near the point where reflected sound entering the microphone almost equals the direct sound pick up. These conditions are not dreamed up—they were actually observed by the writer recently at at least one educational TV station. We should be continuously striving for the best in picture quality. How can you judge picture quality on poor monitors? Yet I have seen a station where the only satisfactory monitors operating with good contrast were the two field type camera controls with seven inch kinescopes.. Good focus is one of the fundamentals of a good picture. You can have everything else right; but if the picture is soft, it’s a poor picture. Personally I can’t enjoy a movie due to my television experience since I am constantly mentally try¬ ing to sharpen the focus. And many times it isn’t my imagination. I have observed a test pattern on the air which looked soft, yet when I asked the video engineer if they checked focus on the test pattern slide, he assured me it wasn’t necessary, since the slide projector had been focused. Yet when I focused the projector the