Radio age research, manufacturing, communications, broadcasting, television (1941)

"Victory at Sea" (Continued from page 19) needed 700 feet of 35 mm fine-grain film which, they had learned, was in the possession of the Indian Navy. At NBC's request, the Indian government airmailed the required footage but it arrived in the form of a 16 mm negative. The shipment reached Radio City from New Delhi via the Indian Embassy in Washington. NBC's editors noted the desired scenes and then returned the entire strip by diplomatic pouch to Bombay. Govern- ment officials there went to work tracing down the original 35 mm negative. It was discovered in various parts of the country, some in spots as distant as Simla in the Himalayas. From these negatives, the Indian government printed the 700 specified feet and for- warded the prints to New York. The U. S. Navy gave the undertaking its full and official cooperation, both in supplying actual combat film and in providing technical assistance. Captain Walter Karig, Special Deputy to the Chief of Information, De- partment of the Navy, was assigned to the project as technical advisor. He brought to the task long ex- perience as a writer of history, fiction, and non-fiction. During his naval service he wrote and edited the epochal "Battle Report", a five-volume series which comprises a narrative-history of the Navy in World War II. Mr. Salomon, who is acting as producer of pro- grams, served six years in the Navy, beginning as a seaman and eventually retiring from active duty as a Lieutenant Commander. During his service he was assigned to the office of the Secretary and served in the Pacific for three years. After the Japanese surrender he was sent to Tokyo as personal representative of Secretary Forrestal and the Chief of Naval Intelligence. He collaborated with Rear Admiral Samuel Eliot Mori- son, in writing the 14-volume, Bancroft prize-winning "History of the United States' Naval Operations in World War II." Direction of the series will be in charge of M. Clay Adams, who came to NBC after many years in Hollywood and in producing films for the Armed Forces. Isaac Klcinerman, veteran motion picture director and editor, edited the film. Officials of the U. S. Navy. Radio Corporation of America and the National Broadcasting Company at- tended a preview of two episodes of "Victory at Sea" at the U. S. Naval Air Station in Anacostia, D. C, on October 15. The special showing was arranged for Admiral William M. Fechteler, Chief of Naval Opera- tions. Heading the visiting RCA-NBC officials were Brig. General David SarnofI, Chairman of the Board of RCA, and Joseph H. McConnell, President of NBC. In introducing the two episodes. "Design for War" and 'The Pacific Boils Over," Robert Sarnotf described ■"Victory at Sea" as the most complete picture of sea power ever presented. "In the 26 years of its existence," he said, "the National Broadcasting Company has had no more chal- lenging task than the production of these 26 half-hour programs — portraying the stor)' of sea power during World War II — which constitute "Victory at Sea." Without the assistance and splendid cooperation of the United States Navy, this story could never have been made available to television." The series, it was announced, will also be telecast by the British Broadcasting Corporation beginning October 27. Radio Workshop (Continued from page 29) university campus, the students do field work at NBC, where, in small groups of three or four, they work in various departments of the network, not only observing what goes on but actually taking part in the day-to-day activities of the news room, the program department, the publicity department and the rest. Each week on Friday the students of the Workshop present a mock broadcast in the studios of KCLA, the university's radio station. This program is heard only over a closed circuit, but it gives the students an opportunity to put into practice the things they have learned in the classrooms and at NBC. Color Book (Contititied from page 25) ten of which carry inch-square chips of graded color ranging from violet-blue-violet to liglit yellow. On each page, beside the related group of color swatches, is a MunscU chip embodying the shade of gray equivalent to the shade that will be reproduced at the black-and- white receiver when any hue or tint of the color group is televised. As a reply to the obvious suggestion that scenery could be painted in the desired grays and costumes chosen in the same manner, rather than bother with colors, it should be pointed out here that the visual effects achieved by the use of color instead of gray do a lot to brighten the spirits of performers. Video directors have learned that actors are more at ease and happier in surroundings of norm.U colors. 32 RADIO AGE