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cycle courier, Jim Curtis. He threads his way through Washington's crowded streets to the lab where the film is processed, or to the airport where it's shipped direct to New York. Always, Curtis has to move in a hurry. In 1949, Senator Tom Connolly announced at seven o'clock one evening that the first appropriation for Western Europe had just been passed to implement the North Atlantic Treaty. Brad Kress shot the statement and handed the film to Curtis. Jim ran for his motor- cycle and headed for the lab, three miles away. The film was processed and edited and handed to Jim again. This time he took it to the studios, five miles from the lab. The film was on Camel Caravan that night, fifty minutes after it had been shot. Such feats, incredible at the time, have become standard practice. David Brinkley supervises the editing of all Wash- ington film for the Camel program. After conferring with the Caravan staff in New York, Brinkley edits the day's top stories, writes a script to back them up, and goes on the air with the report at 7:45 (EST). Jean Montgomery helps Brinkley with the contact work nec- essary to set up the special features for which the Caravan is famous. Through the years of TV news film development, NBC's Washington Bureau has pioneered in the business of making the expression of political opinions interesting to watch. It has been a cooperative eflfort—TV has adapted to politics, and politics has adapted to TV. The problem, of course, is mainly one of equipment. You could tape-record a Congressional hearing with relatively little paraphernalia and interference. But to Jim Curtis, of the NBC courier staff, passes the Lincoln Memorial on his way to the airport with a shipment of film intended for television. Jean Montgomery, Art Barriault and Bill Corrigan of NBC's capital newsroom look over possible news events that should be covered by camera crews. cover it for TV, is another matter. Cameras and the necessary lights take up a lot of room. Committee chair- men in the Congress have understandably hesitated to permit film crews to cover their hearings because of the creation of what some of them call the "circus atmos- phere." But, gradually, the Chairmen have become more tolerant as they have learned to know the crews and, equally important, the eflPectiveness of TV coverage. Once when Senator Hoey was conducting hearings involving the famous "five-percenters," NBC's Capitol Hill cameraman asked him if he could shoot the pro- ceedings. "Yes," said the Senator, "so long as I don't know you're doing it." The cameraman opened up his lens and filmed the hearing without lights. It's not a recommended photographic technique, but it worked, and it showed the Senator and his colleagues how NBC could adapt to their wishes. Some rules stand inviolate. There has never been film coverage of a debate in the House or Senate, nor has there been sound-on-film coverage of a Presidential news conference. But the political leaders do adapt to televi- sion. Many times a Member of Congress will agree to express himself on an issue for the camera and when he does so, the statement turns out to be several minutes long and somewhat repetitious. The cameraman quietly points out that the take would be much more effective RADIO AGE J 9