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Color adds 10 percent to a show’s cost; filming in color costs about one-third more.
color models at the annual furniture shows next June and then start pushing them for fall sales. What their prices will be has not yet been determined.
Color sets are available in most big cities at discount houses, where prospective buyers can get them at about 20 percent below list cost. Any buyer, however, is almost forced to take out a year’s service contract because installing color set is still a highly critical technical job. A full year’s warranty and service contract will add another $140 to the purchase price.
The emphasis on color programming, incidentally, is drawing sharp criticism from many viewers. They complain that, despite all the publicity about color’s being compatible with blackand-white TV, most color shows come in somewhat fuzzily on black-andwhite receivers. RCA disputes this, claiming that if your reception on a black-and-white receiver is fuzzy,
then it must be due to faulty installation of the black-and-white set.
But NBC admits that fuzziness may exist at times. According to Robert Shelby, NBC vice president and chief engineer, the color cameras combine images from three separate pick-up tubes (one red, one blue and one green.) These images must be superimposed perfectly to achieve true color registration. Occasionally one image may slip out of alignment. When this happens, it creates color fringing on color receivers and fuzziness on blackand-whites. “But we’re getting better at this all the time and that problem should soon disappear,” Shelby said. “We would never short-change people with black-and-white sets. After all, they’re still our bread-and-butter.”
The networks figure that staging a live show in color costs about 10 percent more than the same show telecast in black and white. Color film production costs about one-third more. But despite the high costs of even blackand-white TV, the networks have encountered little sponsor resistance to the added costs of color. About 178 stations are now equipped to transmit network color programs.
Few of these, however, can afford to originate local color shows because the necessary equipment is so costly. A new Du Mont system, labeled the Vitascan, might obviate this problem by providing a low-cost means to originate local colorcasts. This system, costing about $40,000, combines a lightscanning technique with a series of red, blue and green filters and furnishes color TV with regular blackand-white cameras.
Basically, the whole color situation boils down to this, in the words of one industry observer: “When there was black-and-white TV only, you had to buy a black-and-white set to watch TV. But today you don’t have to buy a color set to watch TV—not at these prices. You can still watch in black and white.”—Bob Stahl