to—Qvo MWNOQ *HM.OI”-QOQQHH~—O* rob”-vO-.- ._-..o “-9... —'_'w"-‘ . ._'__ "w v I -" WT Viv—vvv- 'V ..'._w'_ ' ' LOCAL FILM PRODUCTION. BY- " w - PUBLIC TELEVISION OPERATLON-su +_ A NATLONAL SURVEY .F _ . ~ - 'Ehesis for the Degree of Rh A. MICHIGAN STATE LENWERSLTY BRUCE E. DOUGLAS . ' 1974 ‘ was v .1 Lnsawnumrw‘f 9 4‘ t" .' ' I. r. ’1 '1'! ' ‘3" L A 1/ .‘o. a -.' 1‘ ’ \I D Ava-N (1‘ (Htm: L ’ .. 1, .‘ .- _’ A “ -'..*‘-\, e. .d.‘ "fl‘tii 9‘ r ' '- 2; Vutv LLJL J :‘1 ‘0 ‘ €39.:_.—_,.1 E _ . d ‘ ' BINDIN’C-i av“; ”v HUAB & SflNS' 800K BINDERY INC. L‘BRARY amoeas I m 3: $3390“. HICHIIAH u I-z-wi'h -I. ___. WK: “7 ABSTRACT LOCAL FILM PRODUCTION BY PUBLIC TELEVISION OPERATIONS--A NATIONAL SURVEY BY Bruce E. Douglas This report provides a detailed look at local film production by public television operations on a nation-wide scale. The project itself was designed in two stages. First, a field survey of PTV operations was conducted in the state of Michigan to determine measurable and researchable areas of film production, and also to serve as a working model of the comprehensive national survey. The second stage of the project involved the design and implementation of the final national public television sur- vey itself. This survey took the form of a detailed ques- tionnaire that was mailed nation-wide to over 180 PTV oper- ations. A return rate of roughly thirty-five percent pro- vided a great deal of information from stations of varying sizes and geographic locations. Selecting license classification (specifically school system, community, state, and university) as an obvious common denominator the information gathered was organized and recorded both cumulatively (on an all-class basis) and Bruce E. Douglas individually in respect to station classification. Basically this project sought to measure individual station involvement with production of various types of film. Three categories of film production were analyzed: 1) Documentary films or filmed feature programs, 2) Filmed inserts for studio-produced programs, and 3) Newsfilm incor- porated into regularly scheduled local newscasts. Stations reporting no documentary film production most frequently singled out lack of funds and trained personnel as the major impediments. It was determined that the most frequently produced film footage was shot for inclusion within studio-produced programs. Topics or subject areas of this type of program most commonly (by content analysis) included variety or 'general interest,‘ interview, and in- structional programs. Film's primary purpose in these in- stances was to serve as a remote reporting device. Regularly scheduled newscasts were reported by thirty- eight percent of the responding stations with fifty-two per- cent of these newscasts containing varying amounts of locally produced film. Other areas of inquiry in this project included the cor- relations between station size, technical procedures, and film department personnel organization. Relationships be- tween film production, content selection, and programming Bruce E. Douglas policy were also analyzed. In this context topic selection was found to be based primarily on budget availability and local, filmable "events of interest." Structured research and audience studies by PTV film personnel appeared very seldom and when identified were found to be extremely trans- parent. An appendix with sixty-two detailed entries from sta- tions participating in this survey appears at the end of the text. It should be noted that this survey served largely to measure reported strengths and degrees of practices, pro- cedures, and techniques in current use among PTV operations. LOCAL FILM PRODUCTION BY PUBLIC TELEVISION OPERATIONS-"A NATIONAL SURVEY BY Bruce Bf ,. (L 0}!" Douglas A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Television and Radio 1974 Copyright by BRUCE E. DOUGLAS 1974 Accepted by the faculty of the Department of Television and Radio, College of Communication Arts, Michigan State University, in partial fulfillment of the requirements for the Master of Arts degree. IDirector of Thesis iii TABLE OF CONTENTS CHAPTER I 0 INTRODUCTION 0 O O O O O O O O O O O O O O O O I I O PILOT FIELD SURVEY O O O O O O O O O O O O O C III. NATIONAL SURVEY QUESTIONNAIRE DESIGN. . . . . IV. ANALYSIS OF SURVEY RETURNS. . . . . . . . . . Analysis of Structured-Response Questions. Studio-Produced Programs Including Film. . Organization of Film Departments . . . . . Content Guidelines for Filmed Programs . . Research and Audience Reaction Surveys . . Film Production Contracts. . . . . . . . . Techniques to Reduce Film Production Costs V. CONCLUSION O O O O O O O O O O O O O O O O O O SELECTED BIBLIOGRAPHY O O O O O O O O O O O O O O O O APPENDICES A. NATIONAL SURVEY QUESTIONNAIRE . . . . . . . . B. FREQUENCY OF RESPONSES TO "CORE" ITEMS. . . . C. RESPONSES OF INDIVIDUAL STATIONS. . . . . . . iv Page 17 29 31 46 50 54 60 68 74 77 78 85 91 LIST OF TABLES AND FIGURE 1. Return Percentages of Questionnaires. . . . . . 2. Topics of Partial Film 3. Frequency of Responses (By Reporting Stations 4. Frequency of Responses (By Reporting Stations 5. Frequency of Responses (By Reporting Stations 6. Frequency of Responses (By Reporting Stations 7. Frequency of Responses (By Reporting Stations FIGURE Programs . . . . . . . . to VCore" Items With Under 10 Personnel) to "Core" Items With 11-15 Personnel). . to "Core" Items With 15-25 Personnel). . to "Core" Items With 25-40 Personnel). . to "Core" Items With Over 40 Personnel). 1. Abbreviated film department diagrams, WNET-TV . Page 30 47 86 87 88 89 90 51 CHAPTER I INTRODUCTION The purpose of this project is to study the use made of locally produced film by public television stations. The target areas of this discussion include who is producing PTV film, what type of film is being produced, and how much film is being produced. It should be noted that in gather— ing this information the project makes every attempt to transplant the "roots" of film production with their native soil; whenever possible the instances and factors of film production are treated in context with their underlying pur- poses. During the planning stages of this project a number of very legitimate questions were posed. Foremost among these was "what would the survey prove?“ What would be the sur- vey's major hypothesis? Would university operations be inherently research oriented? In addition to questions of survey content and purpose another valid question arose over sample design. Given four broad types of PTV operations scattered over the United States with extreme variations in budget, personnel, local audiences, and intended purposes, how was a statistically-sound sample to be drawn? These questions were anticipated at an early stage and served to assist the survey design. In the set-up it was presupposed that film production was an important part of most PTV operations' programming fare. Reflecting this, the survey functioned to gauge overall responses to selected areas of film production. Sample selection was handled in an extremely straight- forward manner. Using the National Association of Broad- casters' Directory as a universal list questionnaires were mailed nation-wide to all PTV stations not clearly identified as repeaters, "satellites," (non program-originators) or stations listed but not yet in operation. Before proceeding with the design and implementation of the National PTV Film Survey a few brief notes are offered to provide a framework for the following discussion. The most recent and unifying event shaping the roles of public televiSion operations (formerly educational tele- vision) was the 1967 Public Broadcasting Act--strongly sup- ported by President Lyndon Johnson--that led to the creation of the Corporation for Public Broadcasting (CPB). As out- lined in the Carnegie Commission Report the CPB was created to serve as a buffer between the federal government and private PTV operations and also to dispense PTV monies de- rived from the.federal government and private foundations. The original notion of public television as conceived by the Carnegie Commission of 1967 was to promote indigenous, local programming in an attempt to escape the rise of a dom- inant, rigid, national network system. Steering clear of program content determination the CPB quickly created a step-sister corporation, the Public Broad- casting Service (PBS), to facilitate national interconnection of the various PTV stations and to also "negotiate" for the production of programming material from various production centers. For our purposes four of these major production centers (also serving as PTV stations) include KCET-TV of Los Angeles, WGBH-TV of Boston, KQED-TV of San Francisco, and New York's WNET-TV. These major stations have supplied and continue to supply a vast array of public affairs, information, and documentary film programs which have served as models and inspirations for smaller PTV stations. The smaller operations, in turn, are the prime concern of this project. Public television addresses itself to local community service, and in this vein Robert Blakely commented in The; People's Instrument: The public broadcasting system should regard itself, and be regarded, not as the 'fourth network,‘ but as the first and only public network. A public sta- tion should regard itself and be regarded, not as a second, or fourth, or sixth station in a community, but as the first and only station whose sole purpose is to serve the public interest.1 1Robert J. Blakely, The People's Instrument (Washington D. C.: Public Affairs Press, 1971), p. 40. Our attention on the following pages will be directed to a small but vital phase of PTV production that enhances pub- lic broadcasting's primary goal of community service. This facet and the target area of our discussion is local PTV film production. Film production was selected for study in this project because of its wide-spread use as a means of recording com- munity events and presenting them in an orderly and often detailed fashion. Literature abounds dealing with the marriage of film and journalism--in newsreels, in documentaries of varying scopes, and more recently in the adaptation of film to the television medium for the creation of news and/or public affairs documentaries. Supporting the merit of factual film as a vital part of television production was a speech presented by Norman Swallow before the British Film Academy. This speech posed the question, "why does a television service need a film department?" and then provided four reasons pertinent to this project: First, film is necessary to television for the record- ing of actual events which cannot ... be covered in any other way. Secondly, television drama ... has always needed film to give greater flexibility, and very many of our television plays have sequences that are made on film. Thirdly, complete programs made throughout as films. If a programme idea is a good one, and if to be fully effective it must be made as a film, then it should be made as a film. Fourthly, ... we have developed a form of film jour— nalism that is peculiar to televiSion ... in whiCh the actual technique is different from that of the cinema.... Throughout the following discussion we will deal primarily with the types of film commonly used by PTV operations as a means of remote reporting and also complete filmic state— ments in the form of television documentaries. With film's role in public television established we now turn to the design and implementation of the National Public Television Film Survey. 2Norman Swallow, "Foundations of a Film Department," in The Process of Television: An Anglo-American Survey, edited by A. William Bluem and Roger Manvell (New York and London: Focal Press, 1967), p. 209. CHAPTER II PILOT FIELD SURVEY At the onset of this project in 1972 a personal field survey of all operating Michigan Public Television Stations was conducted by the author. The only exception was that an in-depth survey questionnaire was substituted for a field interview in the case of Northern Michigan University's WNMR-TV located in Marquette, Michigan. Distance of travel and the fact that the station in question operated more as an educational CATV system than a PTV station were the reasons for this omission. The information gathered from WNMR-TV covered essentially the same areas as detailed in the following text. The complete list of field-interviewed PTV operations included: WMSB-TV, East Lansing, Michigan WTVS-TV, Detroit, Michigan WUCM-TV, University Center, Michigan WGVC-TV, Grand Rapids, Michigan WCMU-TV, Mount Pleasant, Michigan The purpose of this pilot field survey was to establish quantifiable parameters of film production and areas of sta- tion operation relating directly to film production and content selection for filmed programs. It was realized that whatever information was gathered--in both the pilot survey and later in the national survey--would have to be organized in a manner that would represent a number of extremely diversified types of public television operations. With local film production selected as the target area for study a list of specific questions covering nearly all phases of film production was created. This list initially included a good deal of material concerning overall station operation (e.g., budget allocations, program promotion and financing, costs of production, and plans for expansion) in addition to more specific questions covering technical aspects of film production. The idea, as we will soon discuss, was to identify the areas of information that would be most readily answerable by station personnel engaged in film production or personnel acting as administrators in that area. Since the national survey was designed to be completed by film personnel, questions unanswerable by these people would have served little purpose other than to introduce confusion. The initial content list was designed as follows on the next page: II. III. IV. CONTENT LIST: PILOT FIELD SURVEY SECTION 1, ANALYSIS OF PTV FILM DEPARTMENT STRUCTURE OF FILM DEPARTMENT 1. U‘IHUN o o 0 Position of film department in station organization chart Number of film personnel Functions of members Use of additional personnel for special productions Production exclusively for PTV outlet; or is film department allied with information services or instructional media department? TYPE(S) OF FILM PRODUCED l. Regularly produced features, series, newscasts, ITV programs, production contracts Special features: documentaries, promotional films Syndication, program exchange Collateral services: slides and promotion pictures AMOUNTS OF FOOTAGE PRODUCED (various classifications) BUDGET OF FILM DEPARTMENT 1. 2. Cost of filmstock, processing, related services Sources of income: directly from university, state, production contracts FILM EQUIPMENT AND FACILITIES II. III. IV. VI. VII. CONTENT LIST: PILOT FIELD SURVEY SECTION 2: PROGRAM RATIONALE SELECTION OF TOPICS (subject matter) RESEARCH 1. Audience studies 2. Statement of station management, editorial comment SOURCES OF INFORMATION 1. Verification of facts 2. Community needs ASPECTS OF PRODUCTION l. Tightly scripted or shot and assembled 2. Spliced reversal with sync track for television presentation; A-B roll, release print (form of finished product) PROMOTION AND ADVERTISING OF PARTICULAR FILM PROGRAM AUDIENCE REACTION AND "FOLLOW-UP" STUDIES PLANS FOR EXPANSION 1. Programs 2. Services 3. Trends 10 The above list of questions or subject areas was first field-tested at Central Michigan University's WCMU-TV, Mount Pleasant, Michigan. Mike DeGutis, director of film and at that time the station's sole practitioner of the art, responded favorably to the in-depth interview and supplied large amounts of information. The most complete information concerned areas of actual film production--specific programs produced, the type of equipment involved, the specific mechanics of production, and, of course, production short cuts. It was also noted that questions concerning film department organization (in reference to personnel organiza- tion) operating budgets, sources of income, amounts of foot- age shot over a given period of time, audience reaction surveys, and the use of additional personnel for special productions elicited reactions of head-scratching and squirm- ing rather than any real type of quantifiable information. The above material generated similar responses throughout the remainder of the field survey. As a result this material was partially deleted, edited, and restructured for inclu- sion in the final national questionnaire. The most encouraging result of the first field survey was that it demonstrated that there were indeed sizable amounts of measurable information to be gleaned at least from WCMU-TV's film department. This finding continued to be further substantiated throughout the remainder of the pilot survey. 11 The second field interview was conducted at WUCM—TV on the campus of Delta College, University Center (near Saginaw) Michigan. This station appeared as a fairly unique opera- tion in several respects: first, that it was then one of four PTV operations in the United States licensed to a two- year college; secondly, that it was a functioning part of the university both in an informational and academic capa- city; and thirdly, that it demonstrated a near-genius for producing some rather good material on a virtually non-exist- ent budget. The most unique feature of the above was that this station served as a student training ground within the college while providing public television's usual community service. In essence a large amount of production was handled by students in the school's Radio and Television department as a mandatory internship program necessary for graduation. Coupled to this feature was the fact that sta- tion staff members also doubled as faculty in the areas of television and film production. Information concerning film production techniques, types of programs regularly produced, relationships and act- ing capacities of staff members was again collected and recorded in a manner similar to the information supplied by WCMU-TV in Mount Pleasant. Understandably there was a fair amount of similarity between the two operations since they both served universities. 12 A significant point of departure, though, was the fact that WUCM-TV made rather serious use of audience surveys to determine the areas of information that the local residents were interested in or concerned about. The station's re- search determined eleven areas of community interest and concern, the first five of which were (in descending order of importance) drug abuse, crime, environmental pollution, school financing, and welfare.1 The importance here was not a revelation of unsuspected areas of community interest, but rather a conscious effort to establish content priori- ties for programs through applied research. This application of research appeared in direct opposi- tion to the sentiments of a station official interviewed later who bluntly stated that audience need ascertainment did not mean a thing.2 Third on the pilot survey junket was Michigan State University's WMSB-TV of East Lansing, Michigan. Aside from typical responses to the items on the content list, a new parameter of film production was uncovered. This was the separation of the producer-director and his functions from the actual film production staff. In other words, a separa- tion of the thinkers from the doers. This situation was 1William Ballard, "Viewer Survey: A Preliminary Analy- sis” (unpublished report by WUCM-TV, 1971), p. 3. 2Jack Costello, private interview held at WTVS-TV, Detroit, Michigan, Feb. 16, 1972 13 easily understood in view of the number of personnel engaged by WMSB-TV in all phases of film production. WUCM-TV and WCMU-TV mentioned previously operated with few personnel, particularly in the area of film, to the extent that one or two people handled all aspects of film production including writing, producing, filming, editing, and occasionally ap- pearing as talent. In the case of WMSB-TV it was quickly pointed out that separating the producer-directors from the production department looked good on the station organiza- tion chart but often led to confusion and disenchantment. WMSB-TV's director of film Dave Bouse lamented that "... too often the producer-directors, not understanding the limitations of film (costs, technical aspects, as well as logistics) expected or demanded the impossible from the production unit."3 A quick assumption at this point might have been that bureaucracy and departmentalization varied directly With the number of personnel at a given PTV operation. Increased staff size demands a degree of bureaucracy, but departmental— ization was seen to be handled in various ways. An alterna- tive arrangement to WMSB-TV's model was illustrated by Jack Costello, manager of operations for Detroit's community PTV outlet WTVS-TV . 3David Bouse, private interview held at WMSB—TV, East Lansing, Michigan, Feb. 1, 1972. l4 Costello cited overall flexibility as the key to successful film production. "... We want to avoid locking in on a 'program-series' concept ... and keep our schedule flexible enough to present our documentaries or specials when and as they are produced."4 To consciously avoid the "program-series" trap Costello structured his film production units as one-man, "do-it-all" ventures. Under this system a single, cross-trained producer-director was responsible for all phases of his production including writing, producing, filming, and editing. Help was supplied when necessary by similarly trained personnel, but the final product was credited largely as a one-man show. The same interview with Costello uncovered the strong opposition to WUCM-TV's commun- ity need ascertainment research program mentioned above. "Determining a community's needs doesn't mean a thing," stated Costello, "... content is determined and shaped by the producer's previous professional broadcast experience."5 The above discussion serves to illustrate that respon- ses to the selected content areas were far from one-dimen- sional as the pilot survey progressed. Responses to items on the initial list were noted and recorded. It was at this point that a number of identifiable topics began assuming recognizable positions. Production techniques were the most 4Costello, op. cit. 51bid. 15 easily grouped. Synchronous sound in a given type of pro- gram was either single system or double system. Producer- directors either sent their orders to the production department, or proceeded with their work independently. Tight scripts were assigned varying degrees of importance, and additional promotion for a particular program was handled in several different ways. As further information was gathered during the pilot survey it became apparent that the project had outgrown the original content list appearing earlier. This list had included the majority of topics readily answerable by film personnel, but had regrettably also included material un- answerable by near geniuses and material that was totally unrelated to the project as it developed. Other weaknesses included misplaced topics (aspects of production falling under program rationale), and considerations of program syndication. In view of this development the irrelevant material was deleted to make room for new areas of study uncovered by the pilot survey, and a new, considerably tighter organizational list was constructed. While the preliminary results were being analyzed it was noted that the information collected fell into two dis- tinct categories for coding purposes. Primary questions dealing with film personnel, production of news programs, documentaries, and production techniques were readily adapt- able to a standard "yes-no, 1 through 10 format." But more 16 detailed information concerning production contracts, cost- reducing production techniques, and community need ascerfi tainment was seen to be better treated in an open-ended manner. A final edit of the material gathered from the pilot field survey (based on the success of the content list items) provided the basic framework for the national survey questionnaire as described in the following section. CHAPTER III NATIONAL SURVEY QUESTIONNAIRE DESIGN Before the national questionnaire was constructed a number of decisions concerning format and content were made. The most important involved the final selection of content and specific areas of film production with their interrela— tionships to the particular stations. As previously men- tioned the pilot survey was largely instrumental in genera ating measurable aspects of local film production as well as providing a testing ground for specific types and formats of questions. It had also been established that a questionnaire for- mat of "yes-no" and multiple choice numerical foils would be inadequate to accurately represent certain types of informa- tion covered in this survey, and that sizable amounts of this information would be collected to better advantage via unstructured response questions. Reflecting this, the final national survey questionnaire was presented in two sections: twenty-five multiple choice items dealing primarily with film production, and a following four—page section covering nine broader programming and policyhrelated areas. The most essential material to this project was condensed into the 17 18 multiple choice section leaving the in-depth response ma— terial as a bonus to the researcher. Due to the survey's length it was hoped that the responding stations would at least make it through the "easy part" before being dis- tracted, running out of information, or becoming enraged. The final tabulation revealed that the majority of stations did in fact respond well to both sections involved. Further substantiation of this will appear in the following section. The first twenty-five items (appearing on pages one and two of the questionnaire) were selected and arranged in more or less descending order of detail with the broadest questions appearing at the head of the list. The first item, license classification, was an opening "give away" for coding purposes. Four foils followed representing the four common classifications of PTV stations: 1) University, 2) State, 3) Community, and 4) School System. It was noted initially that PTV stations divided themselves fairly equally among these four classifications with a manageable imbalance occur— ring between state and school system stations. This feature was welcomed later in that it provided a logical first break and classifying device. The second item in the multiple choice section concerned the total number of station personnel arranged in increments of a minimum from "ten or less" up to a maximum of "over forty." It was assumed that a response of over forty personv nel would adequately peg the station as a major operation, 19 and further head counting would not be necessary for pur- poses of this project. The response to item thirteen, "personnel directly engaged in film production," was noted and correlated in relation to the number of personnel reported in item number two as the survey progressed. The third and fourth items were designed to get the real issue into the open. Since the questionnaire was clear- ly marked "film production survey" it was mandatory to deter- mine what (if anything) the station had to contribute in the target area. Item four, "if you do not produce film, is any programming originated by your station?" was intended as a buffer to eliminate an easy "out" for non-film—producing stations. Basically it was hoped that stations producing studio-originated programs or utilizing mobile video equip- ment would continue with the questionnaire, particularly in the second, in-depth section. With the production of film established, the question- naire then expanded its scope to establish whether or not entire filmed programs were produced in item number five. This item specifically excluded "filmed inserts used in studio-produced shows" in an attempt to avoid confusion over the items next in line. Again item number six provided a buffer for non-documentary-producing stations that may well have had something to contribute in the areas of studio pro- ductions including filmed inserts, audience studies, and so on. In the case of established feature—film productions 20 items seven and eight called for responses to the frequency of production and the typically average length of these filmed programs. Items nine and ten, dealing with the finished or "aired" form of film (or video tape as the question allowed) and the nature of accompanying synchronous sound were included to gauge the producing stations' utilization of varying pro- duction techniques. Coupled to further responses in both 'sections of the questionnaire it was possible to weigh the types of production methods used in relationship to the types of films or filmed segments produced by the responding sta- tions. Item number ten called for the use made of scripts in documentary or filmed-feature productions. The rationale behind this was to hopefully uncover typical relationships between one-man, "do-it-all" film ventures in comparison to producer-director/technical crew productions. With the establishment of documentary production in item six, and a brief enumeration of frequency, length, and production techniques in items seven through eleven, the questionnaire then turned to the subject of additional film program promotion. This was handled by six set responses previously determined from the pilot field survey, and an optional write-in ("other") provision. The final item on page one called for the number of personnel directly engaged in film production and served 21 largely in its position as a "period" to the first page and a transition to the second. Page two was content-divided into two sections: produc- tion of any regularly scheduled newscast program, and five additional questions to be answered by university PTV opera- tions only. Both areas of content were clearly marked and identified. Items concerning newscast production opened with a "yes-no" question; a "no" response provided instructions to omit the remainder of the newscast section. In the event of a ”yes" response, items fourteen through twenty called for information on the length, frequency of presentation, and the content nature of the newscasts as well as the amount of film produced for news purposes. The concluding item of this section sought to establish whether or not the film personnel involved with news material regularly produced other types of film for the station involved. The final five items on the questionnaire's second page sought to determine the relationship (if any) between the university PTV station and the university itself along the lines of internships and staff-instructional involvements as previously discussed in the pilot survey section. The five university PTV items are largely self-explanatory so no further explanation is warranted at this time. It should be noted that all questionnaires were mailed in identical form to expedite processing and mailing. 22 Instructions were included to the effect that items twenty- one through twenty-five applied only to university PTV operations. The second part of the national survey questionnaire—— the four pages of unstructured response items«—focused on questions that were essentially multi—faceted. These queSv tions directed their attention toward several areas of film production and also the film departments' relationships to broad-based station policies and practices. As in the case of the preceding survey content the nine additional items were subjected to several generations of revision. Basic content for these items was selected in the manner described earlier, but the format design demanded more attention than posing a question that could be answered by a "yes" or "no" response. Implementation of a mailed survey questionnaire (on a trial basis) to Northern Michigan University's WNMR-TV was noted earlier in the discussion of the pilot field survey. This questionnaire was designed toward the beginning of the pilot program and bore close resemblance to the initial con— tent list including the items that were later deleted. Responses to all items on this questionnaire were surprising— ly complete, but a careful examination showed that the treat— ment of unstructured response questions particularly demanded careful attention. The most important consideration was 23 to design each question with a unity of purpose. Combining more than one idea in a single question resulted in apparent confusion and vague responses. It was further noted that certain types of questions needed a little more "push" than even the best of directions could supply. The delicate point in this respect was to construct a question that would supply adequate information without "loading" the question or putting words into the respondent's mouth. In addition to the risk of introducing bias another problem presented itself particularly in the opening item of the national survey questionnaire's second section. This item appeared on the questionnaire in the following manner: IF YOU PRODUCE REGULARLY SCHEDULED STUDIO PROGRAMS THAT INCLUDE FILMED INSERTS PLEASE LIST BELOW. DO NOT INCLUDE HARD NEWS PROGRAMS ALREADY COVERED IN QUESTIONS 14 THROUGH 20 ON PAGE 2. PROGRAM SCHEDULED % FILM TITLE AND LENGTH HOW OFTEN (TIMEI SUBJECT MATTER It was necessary to graphically illustrate exactly what was asked for by this question. The table served as a prompting device for the respondent and also provided a framework that was welcomed when content analysis began. The field survey had determined that studio programs including film were by far the most frequently appearing productions utilizing 24 locally produced film; if a station produced SEX film it was more than likely to show up in the form of film clips . included in studio—produced programs. The field survey had furthermore revealed that these programs varied most widely in three respects: program length, frequency of scheduling, and the amount of film presented-~measured in percentage of program length. Parenthetically, the response to this ques— tion in the national survey was excellent both in terms of frequency of appearance and inclusion of detail. In the area of bias or "leading" material the item call- ing for the "organization of film teams" provided a more severe problem than encountered in the item above. This time unity of purpose was very difficult to establish for the reason that the question did call for more than one type of information. In fact, it called for several types (functions of members) as well as calling for information regarding how the members were interrelated. The most logical solution to the problem appeared to be to provide a hint or an example at the risk of loading the question. The question was "pushed" a little by inquiring, "... does one man serve more than one function? For example, do producer—directors write, shoot, and edit their own material?" The added probe was primarily intended for operations with several full—time film men to determine the extent to which they originated their own material in contrast to the producer—director/technical 25 team arrangement. Of course if a station had only one full- time film man a great deal of explanation was not necessary regarding the organization of "film teams," but it was still desired to know whether he was responsible for originating the material that he produced. Again parenthetically a fair amount of small operations responded to the question with a "yes," and provided no fur- ther information. Other responses by larger operations pro- vided detailed itemizations and breakdowns vastly different than the single "yes" responses. Offsetting the one-man "yes" responses were a number of similar responses to the contrary. In the final analysis the responses displayed a fair balance of distribution indicating that the question had performed its intended function very well for the pur- poses of this project. The remainder of the Open-ended questions in the survey's second section were designed to be fairly straightforward. For sake of brevity these questions--their intentions and purposes--are discussed in context with the responses they generated. A thorough discussion of these items is included in the next section of this report. Turning from our analysis of questionnaire content we now direct our attention to the implementation of the survey. For ease of coding the first twenty-five questionS' were printed on a machine-scorable "answer grid" with the 26 following pages of unstructured response items attached. A cover letter accompanied the questionnaire serving in part as a set of directions and a brief explanation. A good deal of thought and planning was involved in the writing of the cover letter. The success of the entire pro- ject was seen to depend largely upon the strength of this letter. With this in mind the cover letter provided several "incentives" for the respondent to complete the questionnaire. First, for credibility and "value" the survey was identified as originating from the Michigan State University Department of Television and Radio. Secondly (for purposes of urgency), it was stated to be "... a major part of (the author's) MA program ..." and emphasized that a prompt return would be greatly appreciated. Realizing that so far the "advantages" for submitting this information were stacked in favor of the author the letter then included a "premium offer": the results Of the national survey as soon as they became avail— 22l2° In a final paragraph below this "pitch" brief direc- tions for completing and mailing the questionnaire were included. The complete survey package included the cover letter, the questionnaire itself, and a post-paid return envelope to which the respondent's attention was drawn by a colored "flyer" stapled to the top of the questionnaire. The entire package was designed to look professional(at no small expense) 27 but at the same time to not look too "slick." The same basic strategy was employed as that used by advertising agencies in preparing promotional material for local politi- cal candidates. All of the surveys were mailed simultaneously and it was predicted that the volume return of the surveys would represent roughly a bell curve with days plotted against returns received. In other words, trips to the mail box would yield initially no returns, than a couple, followed by a few more the following day and so-on in successively increasing numbers until a crest or plateau was reached. A similar decline was predicted with a dribble of late—comers that had been detained for various reasons. No prediction was made as to the percentage of surveys that would be re- turned, but it was hoped that the volume would be signifi- cantly better than the expected return of direct-mail sales and advertising pieces. Within a week of the mailing date the surveys began to return. Their volume, or rate of return, however, did not coincide with the predicted bell curve to the degree antici— pated. Instead they returned at a fairly steady rate for approximately twenty-five days. The maximum number of returns received on any one day was seven. From the quality of the returns received an interesting situation was noted. The first returns (within the first week) tended to be 28 mostly from smaller operations with only minor amounts of information submitted. The highest quality returns from the larger operations tended to group themselves toward the middle and the end of the mailing period. The last two weeks of the mailing period yielded only occasional surveys of mixed quality. A copy of the national survey questionnaire appears in Appendix A for the reader's inspection. CHAPTER IV ANALYSIS OF SURVEY RETURNS Prior to discussing the results of this project the reader's attention is directed to the "core item" tables appearing in Appendix "B". There are five of these tables, each representing one of the five "number of personnel" foils appearing in item two of the survey questionnaire. These tables each list fourteen items that were selected as highly representative of the material presented in this pro- ject. The purpose of these tables is to display the cumula— EiXE responses of each of the four types of stations in ready reference to the number of personnel. For example, a quick glance reveals that community stations with fewer than ten personnel had much less to report than did university stations with personnel numbering between twenty—five and forty. Stations most active in areas of our concern are seen to fall into the community and university classifica— tions with staffs numbering between twenty-five and forty and "over forty." This is not at all surprising in view of the economics of film production. Starting from the top of the survey questionnaire with the "station classification" item the responding stations 29 3O tallied in the manner shown in the following table: Table 1. Return Percentages of Questionnaires Classification Mailed Returned Percent Return State 55 ll 20 University 54 23 43 School System 21 9 43 Community 48 19 40 Total 178 62 35 From the above table it is apparent that university and school system operations were the most co-operative (on a percentage basis) in returning the desired information. This came as no surprise since the questionnaire wore the Michigan State University label. Respect for academically- related projects may well have accounted for this high rate of return from both university and school system PTV oper- ations. Community operations on the whole were not far behind the two leaders, responding with a forty percent survey return rate. State PTV operations, by contrast, were the least responsive in terms of survey return percentage with 31 only twenty percent of the solicited Operations replying. The oversall return response of thirtyefive percent (on an all—classification basis) was much higher than originally anticipated. In view of this response a follow—up mailing was not considered. Analysis of StructuredeResponse‘Questions Item three, "film produced" netted a return of eighty- two percent (fifty-one replying stations) from responding stations taken at large. For derivation of this figure a station was included if it reported producing 221 film. No initial distinction was given to the amount or type (whether film clips or feature programs) of film produced. Two exceptions were noted to the "16mm." clause: WVPT-TV of Virginia reported substantial activity (including documen— taries and production contracts) in super eight production, and WMHT-TV of New York reported having deactivated its film unit to continue film-type productions with video tape. For our immediate purposes the super eight production was tallied in the figure above, but the use of video tape was not. The fourth item on the questionnaire, "... does your station originate any programming?" checked in almost totally "yes." This situation was prefiplanned for purposes of this project, but it would be dangerously misleading if 32 these results were applied to all operating PTV stations. It is important to remember that the mailing list was screened for "producing" stations with repeaters and appar- ent non-originators being omitted from the list. As a means of partial verification the Alabama ETV Commission's nine listed stations were included in total. From the NAEB Directory it was apparent that WBIQ-TV (Birmingham) served as the head station for eight subordinate operations. The clue to this was the list of station personnel appearing below the station entry with the remaining stations entered by call letters, locations, and a note to refer to the major listing. As predicted, WBIQ-TV responded with a completed questionnaire; two of the other questionnaires were returned stamped "insufficient address," and a third soon appeared with a note from the assistant director of the Alabama ETV Commission stating that the operation in question served only as a transmitter for the Commission and originated no programming. The note further stated that seven production agencies regularly provided programming material for the Alabama network. The only other non-originating station to respond was a school system operation (KWCM-TV of Appleton, Minnesota) with fewer than ten personnel indicated. The fifth item, "... Do you produce documentaries or filmed specials that consist entirely of film?" brings us 33 to the heart of this project. All four station classifica- tions showed considerable activity in this area. Six of the nine school system stations, and eight of the eleven state operations that reported listed documentary production on a regular basis.. Percentages are not offered for the above classifications in view of the small number of returns in- volved. Eighteen of the twenty-one or (cautiously) eighty- six percent of the reporting university stations reported documentary production while fourteen of the nineteen com- munity operations or (again cautiously) seventy-four percent reported similar activity. In deriving the community figures two atypical stations were included: the "film-type" video producers, WMHT-TV, New York, and WNET-TV of New York which noted its license classification as "Educational TV" in the first item of the questionnaire. Listed also in the commun- ity figures above was the stellar appearance of Boston's WBGH-TV which now comes to our attention. In place of the questionnaire operations manager Peter Downey returned a note stating that ... Since WBGH performs as a local station, a national production agency, and a supplier of films for non- television purposes (governmental agencies, etc.) to answer your questions as posed would misrepresent what we actually do in the way of film production. From the above it was apparent that WBGH-TV did indeed ap- pear atypical of the national cross-section of community PTV operations. A look at the "core item" frequency tables 34 described earlier will provide a quick reference to the reporting classes and sizes of PTV operations that regis- tered most active in documentary film production. From the figures reported in the discussion of item five above we note that taken on an across-the-board average slightly over two out of three of the responding stations listed regularly produced documentaries as a part of their programming. More specifically these documentary-producing stations included forty-six of the fifty-one stations that listed producing ddy_film. The remaining non-producers were provided with four options in item number six to indi- cate their reason(s) for not producing this type of program- ming. These options included: 1) insufficient funds for processing the lab fees, 2) lack of personnel to execute full-length film productions, 3) station management feels that filmed productions are low-priority as a part of (your) programming, and 4) an optional write-in ("other _____") option. The first two of these foils directly related to the availability of adequate funds, although the wording of the first was more specifically directed to the matter of economics. "No" responses to documentary productions were anticipated to fall primarily into the "lack of funds" foil and a tally of the results bore this prediction out fairly well. Items one and two (and one-two combinations) were cited almost exclusively as the major impediments to 35 documentary and film production. In essence there was little doubt that money was the major problem. It is inter- esting to note that no responding station cited "low prior- ity as a part of programming." Responses to the "other " option were supplied by WMHT-TV (New York) which noted film—type video production, and KETA-TV (a state operation in Oklahoma with 15-25 personnel) that commented, "As a matter of actuality KETA does not have sufficient in-house equip- ment to produce quality film." Frequency of documentary or filmed special presenta- tions (number seven on the questionnaire) drew a full range of responses from monthly to yearly. Due to the varying types and sizes of PTV operations included in this project it was decided not to cross-break these responses in any purportedly conclusive manner. However as a means of visual identification the reader's attention is again directed to the frequency tables at the end of this section. The most active producers are seen to fall (understandably) into the larger university and community classifications with one state operation, WNJT-TV of New Jersey, also appearing as an especially strong producer of filmed programs. Average length of filmed productions fell almost total- ly into the thirty-minute bracket with only one operation reporting instructional offerings running fifteen minutes. A very few listings of sixty minutes' duration were provided 36 by major operations. The first foil of this item (the five to fifteen minute bracket) was included to gauge the presen- tation of "mini-docs" if they were produced, but none of these were reported. It was assumed for our purposes that this type of offering was aired as an insert to studio- produced shows (described later) to bring the program's air time up to a minimum of thirty minutes. Two of the more technical aspects of film production called for in this survey appeared in items nine and ten covering the form(s) of finished film (before video taping where applicable) and the nature of sound track synchroniza- tion (double vs single system). Film production in conjunc- tion with video tape recording and editing facilities was automatically assumed in this project since the pilot field survey had indicated an extensive merging of these two tech- nologies for television purposes. The almost universally adopted short cut in this area entails simultaneously com- bining filmed, edited video (very often conformed original footage) with a synchornized sound track on video tape to produce an immediately airable program. The savings of both time and money under these circumstances are immense. For many applications--especially television presentation--the finished product is perfectly satisfactory. While this film/tape amalgamation was assumed to be in prevalent use, a considerable amount of non-electronic film production was 37 also assumed to be nationally employed. Item nine attempted to assay the extent of common usage of these two production techniques. The results returned almost a draw between the film purists and the "video boys." A total summation across all four station clssifications resulted in one stray response in favor of the third foil--lab produced release prints-~with slightly over eleven percent of the stations responding to a combination of the second and third foil. Two stations responded to all three foils simultaneously, while only one station, KOAP-TV a state operation in Oregon, responded to the first foil. From this it can be safely assumed that "wild" sound tracks (music and narration over- dubs) are not in frequent use. The survey did not detail itself in attempting to relate the above techniques to the end use of the filmed programs, but it was noted that video tape "quickies" were identified primarily as in—house pro- grams produced for station purposes only. More serious pro- jects such as film contract work was typically associated with "pure film" production techniques. Only one instance of a tape-edit contract production was identified. Rounding out our discussion of technical matters for the moment is a brief discussion of synchronous sound. Common film making practice involves two procedures known in the trade as "single and double-system" sound recording. Item ten on the survey questionnaire provided two 38 corresponding foils for the respondent to indicate the most frequently utilized method at his station for documentary film purposes. Again an across—thevboard tally revealed a slight margin in favor of double system sound recording, but the predominance was too slight to draw any significant conclusions. A further individual station classification breakdown showed the highest incidence of singleesystem sound recording reported by school system stations, while community stations reflected a preference for the double system. University and state operations reported almost equal usage of both methods. Again the reader is cautioned to consider the absolute number of survey responses involved in this project before drawing any hard and fast conclu« sions. In addition to currently used technical procedures of film making, the national survey also attempted to uncover several areas of information relating to the creatiOn of various films and their underlying purposes or reasons for being created. Due to the amount of material of this type gathered the treatment of program rationale will appear later in this section. For our immediate purposes we will take a brief look at the organizational aspect of film material or content. The key word in this instance is organization which brings us to the consideration of scripts. 39 Item number eleven called for the respondent to "... indicate the use (made) of scripts for ... documentaries or filmed feature programs." Three options followed this ques- tion: 1) scripts are carefully prepared and closely followed, 2) scripts are used mainly as treatment outlines, and 3) film crews are seldom structured or limited by the use of scripts. In a later section we will see that tight use of scripts as a structuring device finds its heaviest use in production contract work. This is understandable for the reason that the client most often dictates and specifies the content and the direction the film will take as it unfolds. But for our purposes now we will discuss the use of scripts for struc- turing devices in the preparation of station-originated or in-house film productions. Here we assume primarily a gen- eral audience. The frequency count of responses to question eleven demonstrated a recurring pattern in both total re- sponses and responses by individual station classification. Responses to the second foil were most frequent indicating that scripts were most commonly utilized as treatment out- lines. Responses to the two extremes (tight scripts vs "scripts seldom used") showed a near-perfect balance in num- ber, each appearing about half as often as the treatment option above. Turning this observation around it was noted that scripts were employed roughly twice as often as treat- ment outlines as they were under either of the other condi- tions. 40 Temporarily pausing in our discussion of film produc- tion we now turn to the matter of additional promotion for filmed programs. Our discussion to this point has demonstrated that many PTV operations spend considerable time and money to produce filmed productions that appear at intervals up to a year's duration. It was speculated that these stations would not let their often infrequent presentations go unno— ticed.- Predicting some sort of promotion out of the ordiv nary question twelve sought to uncover the methods of addiv tional advertising or promotion used for locally produced filmed features. Excluding the stations' programming guides, five set responses were included in this item. A summation frequency tally across all classifications . ranked the five categories in the following manner (from most to least frequent): l) newspaper, 2) public radio, 3) commercial radio, 4) direct mail, and 5) commercial TV. On an individual class basis school system and state opera— tions relied almost exclusively on newspapers to promote their filmed programs. Direct mail was listed in conjunc— tion with newspapers by two of the state operations, and ITV libraries were mentioned by KYNE—TV (state), Nebraska. University stations showed heavy use of "newspaperepublic radio" combinations for promotion, with two operations noting commercial television and three noting commercial radio 41 coverage. Community stations also showed a strong leaning toward newspaper promotion, but less reliance on public radio than was noted by university operations. Direct mail promotion was used uniformly sparingly by all four classifi- cations of stations. Three miscellaneous "other" responses included the university Public Relations Department, press releases, and T.V. Guide. The final item on page one of the survey questionnaire called for the number of personnel directly engaged in film production. This item drew responses ranging from "zero" to "twenty-five" reported by a large state operation. Considering the spread in station types, sizes, and the numbers of both that responded, no further analysis of these figures was conducted. It was obvious that the number of film personnel varied directly with the station's size-- which varied even more directly (an understatement) with available money. A full itemization of film personnel on a per-class basis appears again in the indicated columns of the core item frequency tables. Locally produced newscasts (especially those including in-house film) occupied questions fourteen through twenty on the survey questionnaire. For our purposes a thorough item- ization of this material is not warranted; complete entries are provided in the appendix section, and frequency counts of the major items also follow this section in the core item tables. 42 An all classification summation revealed that thirty- eight percent of the reporting stations listed locally pro- duced newscasts with fifty-two percent of these newscasts containing various amounts of locally produced film. Univer- sity operations reported the highest rate of newscast pro- duction with twelve of the twenty-three university operations reporting either daily or weekly news programs. Daily news- casts accounted for seventy-five percent of the university offerings with the remaining quarter composed of "weekly" and "three per week" responses. Seven of the twelve univer- sity newscasts reported regularly included film with three of these responding stations noting that their news-film men also produced other types of film. Content of university newscasts demonstrated a near-perfect balance of "state" and "local" responses. As a slight deviation, WVIZ-TV (University; Ohio) re- ported a weekly "news analysis for schools" program that included film borrowed from a local commercial television operation. Six of the eighteen reporting community PTV operations reported newscasts concerning mainly local tOpics and events. Film was reported in half of these newscasts, and in each instance the personnel responsible for producing this news footage also produced other types of film at their particu— lar stations. 43 State and school system PTV operations combined listed five regularly produced newscasts with two of these contain- ing in-house film. On an all-classification basis "local" news accounted for forty-four percent of the reported newscasts' content with "state" and combinations of "local and state" (plus one mention of "university" news) completing the remainder. On a similar basis lengths of newscast programs--both daily and weekly--were found to fall primarily into the thirty- minute bracket with a small incidence of fifteen minute news- casts and one forty-five minute program also reported. Minutes of film per week per station warrant no particu- lar discussion; this information is included as a matter of record in the appendix section. For clarification it must be noted that the above in- formation was prefaced by a strong qualifying statement appearing in the questionnaire which explicitly stated, "questions fourteen through twenty deal strictly with 'hard news' film production." In this way an attempt was made to screen "newscast" programs from other, lower-key "public affairs" presentations. It was felt that the separation by style or type of presentation rather than by content would more effectively distinguish news programs from current affairs programs--if, indeed, this is possible. The large percentage of "daily" responses was felt to demonstrate that 44 the intended goal was largely achieved; but this measure of inferred success remains tempered by the mention of weekly newscasts. Items a week old stretch this project's concept of "hard news." Encouragingly, though, WJCT-TV of Jackson- ville, Florida correctly made the desired distinction and commented: "We produce a nightly 60 minute public affairs program with film, but your 'hard news' definition limits response." Public affairs programs (per se) and similar regularly produced offerings will be discussed in further detail shortly, but for the moment we will complete the findings of the survey's first section. Concluding the questionnaire's second page was the five item section that applied only to university PTV operations. These five items were included to determine the relationship (if it existed) between the particular PTV station and the university that it served. As mentioned earlier, the pilot field survey had uncovered one very strong symbiotic rela- tionship of this type at Delta College's WUCM-TV. To gather further information along these lines the first item (number twenty-one) determined whether or not the university in ques- tion had a Television and Radio Department (or the equiva- lent) that offered courses in cinematography. Establishing this, it was next determined whether film students (specifi- cally) worked with the PTV operation in producing aired film 45 programs. The two final questions applied to the PTV staff members themselves; item twenty-four was designed to gauge the incidence of staff members serving as faculty in the university's Television and Radio Department, and the final item called for a yes-no response to the PTV station's film staff also serving the university's instructional media or information services department. When the results were tallied it came as no surprise that eighty-three percent of the university PTV operations responding noted that their school did offer courses in film making. Thirty-nine percent of the responding stations noted that they used film students in preparing aired materi- al, and forty-three percent indicated an internship program. It was not established whether this internship program was mandatory since this information would have exceeded the scope of this project. Parenthetically, one community sta- tion--WNED-TV of Buffalo, New York--noted that it offered a student internship program. From the response to item twenty-four it was interesting to note that roughly sixty-five percent of the responding university PTV operations noted some type of station staff/ faculty interrelationship. In other words, some staff mem- bers of slightly over a half of the responding university PTV operations also had academic ties with the Television and Radio Department (or its approximation) at their respective 46 university. The final item noted that less than thirty per- cent of the responding university PTV operations served their school's instructional media or information services department. At this point in our discussion we turn our attention to the analysis of the unstructured response items that appeared on the questionnaire's third through fifth page. Studio-Produced Programs Including Film Continuing our discussion of locally produced film by PTV operations we turn to the treatment of studio-produced programs including filmed inserts. The table and accompanying directions at the top of the survey questionnaire's third page asked the responding sta- tions to list their studio programs that met two criteria: 1) programs regularly scheduled at definite intervals that O O O 2) included various amounts of locally produced film. Responses to the second qualification varied immensely. Several programs listed (by the stations' admission) con- tained little more film than an opening clip, but a moder- ately large number boasted film content close to one hundred percent. Regularly scheduled instructional programs very often reported high percentages of film (see appendix sec- tion). By and large the typical program listed by all four Table 2. 47 Topics of Partial Film Programs Subject Matter University Community School System State Variety General Interest "Magazine Format" Interviews Instructional/ITV "Educational" Minority ProgramsInclud— ing Foreign Language Local/City Government Including Local Politics Sports (All) Senior Citizen Programs for Elderly Audience Public Affairs (Self—identified) Consumer Programs Community and Special Projects Travel, Tourism Cultural: Arts, Music, Literature Childrens' Programming Including "News" Follow-ups: Killers, Other 48 types of stations contained film content that fell into a bracket roughly between ten and fifty percent. Program content appeared as diverse as did the origi- nating stations; monthly poultry programs appeared in con- trast to cosmopolitan east coast cultural programs. Table 2, on the preceding page, was constructed from the programs listed by the responding stations. From the content frequency count three types of pro- grams were distinguished as appearing most frequently. In descending order these included: 1) Public Affairs --identified as such by Programs the responding stations. 2) Instructional --included where identified Programs as instructional, "ITV," or "educational." 3) Variety Programs --various topics, general inter- est; often "magazine format." Two additional types of partial-film offerings more or less tied for fourth place being cited in equal number: 4) Cultural Programs --including content described as literary, artistic, theatri- cal, etc. 5) Sports Programs --highlights with film, discus- sion. Appearing slightly less frequently than the above were four more topic areas again presented in descending order of appearance: 6) Minority Programs --various tOpics; various languages 49 7) Childrens' Programs ——news, "public affairs" designed for children. 8) Senior Citizen ——topics of interest to senior Programs citizens, the elderly, etc. 9) Local Government —-topics concerning city and Programs state government; legisla- ture. Other content areas appearing in isolation (not noted in Table 2) included agriculture, campus events, career pro- grams, "phone-in" programs, ecology topics and land use. From the frequency chart composed of voluntary station responses no station class/program type "loading" appeared evident. It was speculated that school and state PTV opera- tions would report higher levels of instructional programming than the university (perhaps) and community operations, but this was not apparent in this project's findings. Perhaps limiting response to programs specifically including film "over qualified" and thus excluded certain program types. Nonetheless, for our purposes the results did establish a continuum of programming topics meeting the pre-set qualifir cations. All programs listed included varying amounts of film. It was not at all surprising to award the pole posi- tion to "public affairs programming." Such is the "stuff" that public television is theoretically made of. Luckily this type of material lends itself well to partial as well as total filmic treatment. 50 As a general summation to this item it Should be noted that all the types of programs appearing in the immediate discussion afforded ample opportunities to use film as both a remote reporting device and an ideal medium for presenting an added dimension to local events and situations treated in studio-produced programs. Organization of Film Departments It was apparent from the information submitted by the responding stations that interchangeability and flexibility were the two key hallmarks of PTV film personnel. A number of large stations described film personnel specialization under certain circumstances (usually longer, protracted pro- ductions) but the same operations also cited concurrent instances of one-man, "do-it-all" productions. Within the framework of specialization the one man productions appeared almost exclusively in the area of producer-directors shoot- ing quick "clips" for inclusion within their regularly aired programs. Simplifying our discussion and the treatment of the material received, the notion of strict personnel role specialization was relaxed; two fairly broad film department organizational classifications were established: 1) Film departments showing a high degree of role specialization under varying circumstances; and, 2) Film departments showing no role specialization-- often self—identified as unstructured, producer- director "do-it-all" ventures. 51 As the results were analyzed it became obvious that the partial results of the pilot Michigan field survey were fairly reflective of the results obtained on the national level. For reasons of economy (or exigency) smaller opera- tions with one or two-man film staffs typically identified themselves as falling within the second category above. Larger operations showed a moderately higher degree of specialization in some areas, but no precise patterns were detected. New York's WNET-TV, an undisputedly large PTV opera- tion, submitted an abbreviated organizational chart showing the placement of its ten full-time film personnel. By prefacing the diagram below with a program manager and pos- sibly a director of film (or operations) we have a fairly representative organizational model for any large-scale PTV film department. PRODUCER-DIRECTORS Cameraman Film Editor Asst. Cameraman Asst. Film Editor Soundman Production Figure l. Abbreviated film department diagram, WNET-TV. 52 From the preceding figure it is to be noted that the pro- ducer-directors do not shoot film, edit, or engage in other production. Illustrating a similar degree of role speciali- zation was New Jersey's (state) WNJT-TV. Distribution of a twenty-five man film staff included a film director, six cameramen, four full-time editors, two film processors, soundmen with assistant crew, one film librarian, and a secretary. Further information reported that producer- directors did not shoot their own material, but in some cases they had a hand in editing "their" footage as it came back from the production department. Progressing from a degree of high specialization to a somewhat lesser degree we come to another fairly typical type of film department that exhibits definite organiza- tional guidelines at the same time providing producer- director autonomy and flexibility. Representative of this "intermediate" type of organizational structure was Jackson- ville, Florida's WJCT-TV. In this operation the production staff was reported split along program-type lines: One cinematographer with supporting staff serviced two producer- directors in turning out documentary and production contract work while five "do-it-all" producer-directors provided less demanding footage for the station's nightly "Feedback" series. Bowling Green University's WBGU—TV reported similar specialization in personnel functions determined by program 53 type. Again documentary and production contract work fell into the hands of full-time specialists with supporting staff members to handle secondary details. However, most of the program insert footage was prepared and produced by part-time student employees. On the lowest end of the specialization continuum were numerous accounts of one or several men as producer- directors originating, writing, filming, editing, and occa- sionally acting as talent in their personal productions. From information reported by the responding stations it was concluded that personnel specialization occurred most among larger operations. This specialization was found in both specific program-type productions and individual per- sonnel functions. The most observable role separation was found in isolating the producer-directors from the actual production work. In this instance if producer-directors were engaged in ddy_production work they were most likely to be found editing the film for their particular "creations." This minimal producer-director/technical staff involvement increased directly as the number of total film personnel (and station size) decreased. In the case of film "teams" (for stations with adequate personnel) the obvious capacities of cameraman, soundman, and talent/field correspondent were most frequently identi- fied--with the addition of at least one grip when the situa- tion permitted. 54 A summation breakdown of the film producing stations netted roughly a forty percent incidence of at least partial personnel specialization in contrast to an approximate sixty percent return from stations citing autonomous producer- director-technical ("do-it-all") productions. These figures, however should be interpreted with a great deal of caution for the reason that they are loaded somewhat in favor of the large (over forty personnel) operations by virtue of the number of surveys returned. A totally accurate enumeration would clearly put the autonomous producer-director-technical sector in a national bracket higher than sixty percent. Content Guidelines for Filmed Programs Program content guidelines were easy to detect and item- ize among the four station classifications; in the majority of cases they either existed or did not exist. For our immediate purposes these guidelines were included in the summation tally regardless of their quality. It must be noted that the quality of these responses varied a great deal. Nevertheless, thirty—four of the sixty-two responding sta- tions made some mention of film program content guidelines putting the percentage figure at fifty-five on an all-class basis. Breaking the total down into individual station-class responses yielded some interesting results. 55 The most readily categorized responses to the program content guideline section were furnished by school system PTV operations. Seven of the nine responding stations prOv vided fairly factual information. The majority of these responses reflected the tie between the stations and their roles as agents of particular school systems or boards of education. Content for instructional programs understand“ ably was seldom originated internally by the particular film department or station programming department. The Georgia ETV Network reported maintaining a separate "program devel— opment unit" which determined the content of filmed material. Along similar lines Washington's KSPS-TV reported that material selection was specified by teachers, and KLVX-TV of Nevada reported that most program topics were selected by outside organizations and agencies. These responses were largely anticipated in view of the various stations' involve— ments with instructional programming. Somewhat mitigating these reports of "outside" film program material selection was the response from Washington's KPEC—TV which noted that the content for their PTV offerings (identified as nonvinstructional) was "... selected by a com« mittee on the basis of importance and relevance to the com— munity." Further refining the matter of content selection the same station stated that they chose "subjects that lend themselves to immediate comments and questions" for their nightly "Feedback" program. 56 Other responses from school system stations included film material selection on the basis of "public interest," "whatever we can bring into the station to shoot," and the unpretentious qualification that the material should be "transparently educational." State PTV operations submitted information similar to that supplied by school system stations in reference to film program content being determined by "outside agencies." But in general the state operations were observed to have a higher incidence of station-selected (or programming depart- ment selected) content appearing in their filmed productions. From the information received five of the eleven reporting state operations listed varying degrees of content guide- lines. The most detailed information was submitted by the Nebraska ETV Network which reported actively seeking out the developing program material for film projects in the follow- ing manner: Most of our filmed programs are conceived and funded through our Special Projects Unit. For the most part they involve subject matter that is of interest to an organization outside our station. The Senior Producer in this unit prepares a project proposal and a budget which he uses to "sell" the project to the organiza- tion. Our major criterion for devoting staff time and materi- als to such a project is to produce programming which will air on the Nebraska ETV Network. If the program manager and his advisory groups feel that such program- ming is worthwhile to the network, the Special Projects Senior Producer is responsible for developing the idea and obtaining funding. 57 In much the same manner Nebraska's KYNE-TV (Omaha) reported that several sources (both internal and external) were responsible for shaping its film program material. These included: individual (station) producers and directors, teacher-researcher combinations, and the State Department of Curriculum Advisor. More inner-directed bases of material origination were listed by three other state operations. The main consider- ations cited by these three operations were that the filmed programs (or documentaries) should ideally: 1) be of interest to the general (state) public or to reachable, identifiable minorities, 2) be concerned with people and things in the state and region, and 3) not have been previously covered extensively. Thirteen of the twenty-three responding university sta- tions listed various considerations and guidelines used in selecting material for their filmed programs. In addition to including several typical responses to "outside interests" (as detailed above) the university responses ranged from "whatever we can talk the university administration into" to an especially detailed entry from Bowling Green University's WBGU-TV which read as follows: Budget is the most decisive factor in determining the amount of film footage shot for a program. Other factors include 1) importance of actual location in communicating information and mood of the subject matter, 2) the need for visualization of the subject matter, 3) the mobility needed to cover the subject matter (much easier to move a small camera crew than 58 a large mobile truck crew), and 4) whether or not the program will be submitted for national distribution. From the university stations' responses it became apparent that costs and technical considerations had a definite bear- ing on documentary content as well as more "philosophical' aspects of program rationale. In other words, the guide- lines not always selected the message for the film medium; rather, the reverse of this was often true. These program- ming pragmatics were simply stated by WWVU-TV of Virginia that noted using film "... when we can't use video tape." Aside from these responses the university stations provided a fairly loose set of standards that applied to film programs ideally, and to all other types of station offerings (most likely) generally. A number of these "guide- lines" dealt with specific shows and what the shows attempt- ed to accomplish rather than uncovering the reason(s) why. the filmed programs (particularly documentaries) were selected and produced. In these cases various EEXLE in- cluded "public interest," "interest to the community," "general audience viewing," and "exclusivity of material." KTWU-TV of Kansas alone mentioned the program director actively working with community organizations to discuss pos— sible program topics. Of the four station classifications, community opera- tions appeared to have the highest degree of latitude in personally selecting and developing film program topics and 59 ideas. Eight of the nineteen responding community stations submitted information on guidelines or considerations struc— turing their documentaries or filmed programs. Only one operation, Pennsylvania's WITF-TV, responded unmistakably that they were dependent upon outside interests for film program topic selection, stating "... (the station) rarely has the opportunity to select; most films are done on a contract basis with the grantor selecting the subject matter." WVPT-TV of Virginia provided a weaker response of this type ("Community—oriented programming for which we can obtain underwriting") which leads us to assume that the station at least partially determines documentary content. Heading the list of "inner—directed" film producing PTV operations was New York's WNET—TV which listed its license classification as Educational Television. (Being the only responding station of this type it was drafted into the com— munity classification.) This station's response to the guideline item was both succinct and realistic«—"... film program material must be interesting, informative, and pos— sibly of some public service." Jacksonville's (Florida) WJCT—TV again implied the role of technical considerations in selecting filmed program material stating ... Film projects are reserved for topics that are not readily produceable on video tape ... whatever suits the topics of daily concern.... Long range projects follow more journalistic procedures.... 60 With an eye on national distribution (and, of course, underwriting) Pennsylvania's WQLN-TV "... searches for sub- ject matter most applicable to national usage." Illustrating this point the station listed two programs on "... community events that had an overall bearing on the Pennsylvania scene" which were funded by the Pennsylvania PTV Network, and another program accepted by PBS for national distribu- tion. As a summary to responses concerning the guideline sec- tion among community operations--and a general summary to this material submitted by all four station classifications-- four "selection qualifications" for in-house documentary film material were listed by Chicago's WTTW-TV. This opera- tion pointed out that it selected material for film programs on the basis that it 1) lends itself to cinematic treatment, 2) is relevant to the community, 3) fits into the station's long—range programming plan, and 4) that it is (must be) economically feasible. Research and Audience Reaction Surveys Following the program guideline or rationale section on the survey questionnaire was the item below: If any organized research is used in connection with the above, please explain the type and the evaluation methodology. General response to this item in a word was marginal. Only fifteen of the sixty-two responding stations included any 61 information in this section, and the information that was included left a great deal to the imagination. Granted this type of material exceeded the bounds of film production, and perhaps would have been better answered by the program- ming departments of the individual stations. However, since this survey addressed itself to film production, the respon— ses (or lack of the same) to the research item indicated that film personnel by and large had little contact with this phase of program origination. Perhaps research ESE carried out that the film personnel p§£_§e_did not detect; or perhaps the respondents simply omitted further informa- tion feeling that it was beyond their domain. In any event, the majority of responses to the research item identified areas of particular—program content research——in other words, "after—thevfact" research that was carried out once the program topic had been selected. The original intent of this item was to uncover the use of research (any type) applying to program topic selection. Delta College's WUCM-TV had demonstrated in the pilot survey the use of applied research to isolate community concerns and areas of interest. It was hoped that further ventures of this sort would be reflected in the national survey. Three stations nibbled at this idea in the guideline item above by mentioning station—staff "idea meetings" and active staff involvement with community organizations. 62 The notion of research as it appeared on the survey questionnaire was construed to mean content research by Iowa's KDIN-TV which responded, "... historical or back- ground research, phone interviews, and person-to-person interviews are used to gather information and are used as leads." Along similar lines Washington's KPEC-TV responded "... Research is done by the producer in the form of (review- ing the) literature and personal interviewing--evaluation of the research and its thoroughness is an ongoing procedure between the producer, program director, and the production manager." Several other responses indicated that research (if any was involved) fell into the hands of the producer-directors. In this case it was described as or assumed to be largely content research as evidenced by New York's WNET-TV which stated "research is determined by the type of project; the host or hostess determines the content for interview programs, and the producer researches and writes more complicated pro- jects." "The producer-director researches topics before :making a program commitment," wrote WVPT-TV of Virginia; and Idaho's KBGL-TV noted that "producer-directors are responsi- ble for researching particular assignments." (Underline added.) Information as to where these assignments came from or why they were assigned was not included. As a final coup New York's WNET-TV dodged the issue entirely by tersely noting "professional researchers." 63 From the size and nature of this operation it was assumed that the respondent was reluctant to supply information in detail which might well have been lengthy. Offsetting the so-far weak responses to the research item were two that intimated applied research was at least partially utilized in various program planning stages. KTXT-TV of Texas stated that "... evaluation is made on an individual program basis by the producer-director and the program manager ... research is only carried out to discern the interest factor involved in the presentation of the pro- gram." No mention was made as to whether the "interest factor" was determined before or after the program was aired, but as a clue the station listed "none" in the audience re- action item. It was inferred that that pre-production inter- est was the type involved. New Hampshire's WENH-TV also made hasty reference to program research citing "... phone and mail surveys used on a casual basis in addition to pro- gram guide solicitations." From the above discussion comes the realization that PTV film departments were anything but gold mines of informa- tion on research for film program content selection--at least under the circumstances of this project. Audience re- action surveys (concerning filmed programs) also were very light on material supplied by the responding film depart- ments. This appeared entirely reasonable since audience 64 studies are (even less than research) not the business of film personnel. In this frame of reference we note that only nine of the sixty-two responding stations submitted information on audience reaction surveys to filmed programs. The most precisely defined audience reaction survey methodology was described by two responding operations by the mere mention of the A. C. Nielsen Survey. New York's WNET-TV and Chicago's WTTW-TV both stated that they utilized the Nielsen service. WTTW-TV further described one particu- lar instance where the Nielsen Survey was directly applied to an in-house documentary program: 'Renoir,' a half-hour study of the artist presented in May, 1973, received a 5 rating and a 9 share of audience which is equivalent to an estimated 132,000 households viewing. The station further reported that to the date of mailing the above information the "Renoir" documentary remained their most highly rated local production. Use of the Nielsen survey by major PTV operations in large metropolitan markets is a foregone conclusion; but smaller operations serving universities and smaller commun- ities reported other methods of measuring audience response to particular programs. WITF-TV of Hershey, Pennsylvania and KPEC-TV of Washington both reported using the telephone as a "reaction line" to solicit viewers' responses to par- ticular programs. WQLN-TV of Pennsylvania described a rather favorable, unplanned reaction to a documentary they 65 produced dealing with Erie's (Pennsylvania) unique treat- ment center for indigent alcoholics. This program was accepted by PBS for national viewing, and soon after the program was broadcast the Alcoholic Center received "... requests for information from many cities in which the film was aired." Other commonly used methods of determining audience reaction were reported to be "random phone sampling" (WCMU—TV, Michigan), "mailing questionnaires to seleCted members of the Channel Eleven Club" (KTWU-TV, Kansas), and "voluntary feedback through unsolicited letters or verbal- ized upon encounter" (KDIN-TV, Iowa). In addition to public television offerings (documen- taries and general interest film programs) it must be men- tioned that three Operations noted outside evaluation of instructional TV programs based on responses from qualified educators and various methods of in—school course evaluation. Film Production Contracts Information regarding film production contracts was submitted by slightly more than a third of the responding PTV operations. From this information it was apparent that the majority of film production contract work fell into the hands of the larger (25-40, and over 40 personnel) PTV oper- ations. This, of course, was expected. Counting station- identified film contracts for outside agencies (excluding 66 in-house productions) the total response among all four sta— tion classifications found twenty—four of the reporting stations engaged in current film contract work. Nineteen of these Operations fell into the twenty—fivevplus personnel categories. The subject matter or topics of the contract films reported by the responding stations fell primarily into three categories: 1) Informative Documentaries——dealing with local situ« ations, events, or occurrences, and geared to general adult audiences. 2) Instructional Programs-«for specific educational purposes. 3) Public Relations or "Report" Films—~produced for specific purposes for various organizations and agenc1es. Illustrating the first category, KPEC—TV of Tacoma, Washing“ ton cited two documentaries produced "on spec" jointly for CPB/PBS dealing with environmental issues of the Tacoma area. Washington's KYVE—TV also reported a documentary pro- duction for the American Bi-Centennial Commission concerning the various ethnic heritages found in the nearby Yakima Valley region. In both of the above instances the proximity of the producing station to the filmed event or condition led to the production of the particular film. Proximity appeared to be the key to most contract pro— ductions in two respects: either, 1) the station was close to the desired location in the case of out-of—state 67 productions (KPEC-TV above) or, 2) the station involved was close to the "Sponsoring" agency or organization. The latter situation was the rule for the majority of specific- program film production contracts surveyed in this project. with a given agency or organization desiring to produce a film and a nearby PTV operation with adequate production facilities and personnel a "deal" was imminent. Numerous instances of this type were reported in the areas of instruc- tional, educational, public relations, and promotional films. The most obvious relationship occurred among university PTV operations that reported producing "contract" instructional films for various university departments, and in the case of Maine's WMEB—TV a promotional film for the university's Alumni Club. Limiting our definition of contract films to those pro— duced under an agreement between a PTV station film depart- ment and an outside concern, the following agencies and organizations were isolated and recorded in order of fre— quency of appearance: 1) Boards of Education and School Systems——state and local. 2) National Foundations and Commissions-~including the National Science Foundation, National Education Association, American Bi-Centennial Commission, National Endowment for the Humanities, and other "unidentified" foundations. 3) State Organizations and Agencies-—including State Police and the State Legislature. 68 4) University Departments and Clubs--instructional and promotional topics. 5) National PTV Organizations and Agencies——including the Corporation for Public Broadcasting, Public Broadcasting Service, Public Television Library, National Instructional Television, and others. Other miscellaneous outside interests included the United States Government, Industry (in collaboration with a univer- sity Agriculture Department), state ETV Networks, Community Service Organizations, a library, a local Model—A Ford Club, and the Swedish Broadcasting Corporation. From the above list of agencies it is seen that commer— cial interests have their film needs serviced elsewhere. PTV film production contract work appears most active in governmental, public, educational, and non—profit areas. Furthermore the films produced almost exclusively cover factual or educational material and subjects. Techniques to Reduce Film Production Costs If one major problem universal to all PTV operations were to be identified it would be without a doubt the lack of adequate operating capital. Public television shares overhead and expenses proportional to commercial television but does not share the advertising revenues that line com— mercial broadcasters' pockets. Lack of adequate funds restricts PTV operations in many areas, but as pointed out earlier it virtually precludes film production. Realizing that PTV operations share varying degrees of poverty it was 69 hoped that this project would uncover a few angles adopted to stretch the scant film production dollars to the maximum. Responding to the "techniques adopted to reduce film production costs" item (page five of the survey question- naire) twenty-four stations submitted suggestions ranging from "theft" to "using fewer color work prints." Between these two extremes were a number of tips that involved cut- ting corners in nearly all phases of film production. These cost-cutters follow below without regard to particular sta- tion class since we are dealing with technical procedures that are largely universal to all film departments. In order Of sequence an initial money-saver concerned pre-production planning. This suggestion appeared several times and was coupled to "frequent evaluation of all steps in a film production" by Bowling Green's WBGU-TV. Such planning and frequent evaluation, according to that station, reduced money and time-consuming make up work. "Keep the shooting ratio low" was another much mentioned maxim; Central Michigan University's WCMU-TV boasted a 1.2 : l raw film to aired film radio. The secret according to Director of Film Mike DeGutis lay in "thinking, planning, and editing in the camera." One suggestion offered to help achieve this goal was the use of tighter scripting. Of course in many areas of documentary and investigative film production tight scripts are extremely difficult to adhere to as unplanned events unfold before the camera. 70 In addition to tighter scripting Pennsylvania's WQLN-TV offered a fairly novel approach for cutting costs on filmed interviews. This involved recording the initial interview on quarter-inch audio tape and selecting the pertinent com- ments and information upon playback. With the highlights in mind the interview could then be restaged for the camera thus preventing "voluminous over-shooting." By far the most mentioned shortcut and money saver was reported to be the use of video tape facilities and pro- cedures in conjunction with filmed footage. Nearly every possible combination of single and double system film footage was mentioned ... in varying degrees of clarity and intel- ligibility. The degree of ingenuity and complexity varied with the capabilities and sophistication of the VTR units possessed by the responding stations. Operations with full electronic editing capabilities suggested "pre-editing" filmed footage transferred to video tape and also utilizing film-tape combinations (via the film chain) for freeze frames to extend time and emphasize material. Numerous mentions of single and double-roll film-tape mixes to produce a final, airable program were also noted. Most of the stations reporting use of film-tape pro- ductions cited that these "tape edits" were used primarily for in-house presentations rather than for contract work, although WENG-TV of New Hampshire reported two recent tape edit finished programs produced under contract. 71 In the case of pure film projects (with no VTR short- cuts or final mixes) the phase that was most often mentioned in a money saving context was the treatment of workprints. Georgia's WGTV-TV offered the suggestion of using "black and white workprints except where color (was) critical to the editing process." By contrast Ohio's WOUB-TV went a step farther by suggesting using "very few workprints" period. Again video tape was mentioned--not as an integral part of pure film production, but rather as a preliminary measure. Maine's WMEB-TV noted pre-editing their major projects on one inch video tape before setting to work at the editing bench. Incidentially (for those with money) the Nebraska ETV Commission pointed out that the use of a Steenbeck flatbed editing machine instead of conventional editing gear saved a great deal of time (of course the re- verse of this saves a great deal of money). Super eight productions especially for investigative reporting and news pieces inside VTR programs was recom- mended by Chicago's WTTW—TV. Similarly Virginia's WVPT-TV noted extensive super eight sync-sound production including contract work. Philadelphia's WUHY-TV reported that full color super eight production cost their operation less than monochrome 16mm. film. The same operation also stated that they soon plan to switch to half-inch video tape for their news-type work that is currently handled by film. 72 Aside from technical considerations of film production a number of management suggestions were offered to reduce film production costs. "Tight management" was listed by Washington's KYVE-TV, and KDIN-TV of Iowa pointed out the money-saving virtues of reduced travel ("limited travel on a limited budget") and small crews. Small, professional crews were often mentioned, usually being identified as consisting of three prime men with an occasional fourth as a grip. WNET-TV of New York also mentioned small crews-- "accompanied by the production manager at all times." WETA- TV of Virginia contributed the suggestion of maintaining a small, professional film staff and utilizing free-lancers on a per-job basis for overflow work. The same station (a com- munity operation) also mentioned utilizing students in a work-study capacity for various phases of film production. University stations also mentioned variations of the same idea. WSIU-TV (university, Carbondale, Illinois) noted using student crews for class credit or "for love" to assist in film production work. Several other general cost-reducing hints were offered by various stations. Chicago's WTTW-TV stated the impor- tance of hiring film personnel "who know what they are doing at Ell (underscore theirs) levels of production," and WUNC-TV of North Carolina passed along the reminder to "always re- move the lens cap before pressing the 'go' button." 73 KBYU-TV of Salt Lake City submitted the ultimate short cut; however, no specifics were mentioned as to the relative economy of their suggestion. This station cited saving money by "sending much of their film work out to the univer— sity Motion Picture Department." According to the informa— tion submitted this arrangement "eliminated much duplication of equipment." CHAPTER V CONCLUSION On an all-class basis eighty-two percent of the re— sponding PTV operations reported film production of some sort. All four classifications of stations responding reported considerable activity in documentary film produc— tion with slightly over two out of three responding stations citing examples of film productions in this category. Stations reporting no documentary film activity most frequently singled out insufficient funds and lack of per- sonnel as the major impediments in this area. The majority of documentary films produced by PTV operations fell into the thirty minute time bracket with only casual mention of complete film programs under thirty minutes' length. On the level of production it was found that video tape/film edits were used as commonly as "pure film" pro- ductions, however tape edits were more often used for in- house presentations than for programs intended for any type of distribution. Single and double systems of sound recording were men- tioned with nearly equal degrees of frequency, but the use of "wild" sound tracks was reported by only two operations. 74 75 Film scripts used for documentary productions were reported most commonly as treatment outlines, especially in the case of in-house productions. Tighter scripting methods were cited for film production contract work. Newspapers accounted for the largest share of additional promotion for documentary film programs by all four classi- fications of stations. University PTV operations frequently mentioned the use of public radio in combination with news- paper promotion. An all-classification tally revealed that thirty-eight percent of the reporting stations produced a regularly scheduled newscast program. Fifty-two percent of these news- casts contained various amounts of locally produced film. Film department organization varied almost in direct proportion to station-staff size. Operations with large film staffs exhibited a high degree of specialization (producer- directors most often separated from the production tech- nicians) while smaller operations typically exhibited one or two-man "do-it-all" film departments. Guidelines (where identified) for film program content selection were found to be extremely transparent. In the majority of cases the existence of local "issues and events of interest" and the availability of film department funds outweighed by far any applied philosophical considerations of program rationale. 76 Film production contracts—~or films produced by PTV departments for outside agencies or interests-—fell almost totally into the domain of large PTV operations. In the majority of these instances the outside agencies were non— commercial interests such as educational organizations, law enforcement agencies, and governmental bureaus and depart— ments. On a final note the most widely utilized practice for reducing film production costs was found to be the incor- poration of video tape techniques and facilities in produc- ing PTV film for internal station use. Among several larger stations there was considerable interest expressed in the use of super eight film for PTV productions. SELECTED BIBLIOGRAPHY Blakely, Robert J. The People's Instrument: A Philosophy of Programming for Public Television. Washingtin, D.C.: Public Affairs Press, 1971. Material covers the role of the public TV station and its relationship to the community that it serves: broad and philosophical. Bluem, A. William, and Manvell, Roger, eds. The Process of Televisioni__An Anglo-American Survey. London: Focal Press, 1967. Material useful to this report primarily concerning the role of film in BBC programming. Swallow, Norman. Factual Television. London: Billing and Sons, Ltd., 1966. Material of interest covering news programming, current affairs documentaries, and personal documentaries as seen from the vantage point of British broadcasting. Television Information Office. Interaction: Television Public Affairs Programming ... At the Community Level. New York: Television Information Office, 1960. Material covers the results of a national survey on pro- gram content for public affairs programs produced by both commercial and public television operations. Entries arranged topically including Literature and the Arts, Government and Politics, Safety and Law Enforce- ment, etc. Wedell, E. G., ed., Structures of Broadcasting. London: Manchester University Press, 1970. Material includes the reports of a symposium held at the University of Manchester dealing with "structures of broadcasting" as they exist in Great Britain. Content most applicable to this project included dis- cussions on the British concept of community service and "publicu broadcasting. Yellin, David G., SPECIAL: Fred Freed and the Television Documentary. New York: The Macmillan Company, 1973. Particularly good information on the early days of tele- vision documentaries as they evolved from radio pro- grams. Material is presented semi-biographically in following the career of Fred Freed currently the execu- tive producer of NBC's "White Papers" series. 77 APPENDICES APPENDIX A NATIONAL SURVEY QUESTIONNAIRE 78 79 NUKHIHSADISTAJHEIINIVERSITY’unwmnmo-ummmm4wu DEPARTMENT O! TELEVISION AND IADIO ° 321 UNION BUILDING Dear Sirs: This is a research project being conducted by Michigan State University's department of Television and Radio. It is also the major part of my Master's thesis, so I would greatly appreciate your taking a few moments to complete the enclosed questionnaire. This survey is being mailed nation-wide to every operating PTV station to gauge the use made of locally produced film. With YOUR prompt co—operation the results of this survey will be tabulated by January. If you would be interested in the national findings please indicate the same, and I will do all that is possible to send you this information as soon as it is available. You will notice that the enclosed questionnaire is in two parts -- a machine-scored answer grid (page 1), and the following pages of unstructured response questions. Please use a NUMBER TWO pencil to mark your responses in the grid, and fill in the remaining items in a brief but reasonably complete manner. These few minutes on your part will be greatly appreciated. Thank you very much for your co-operation in making this survey a success. Yours truly, ME, MflS Bruce E. Douglas 10. 11. 12. 13. 8C) PTV FILM PRODUCTION SURVEY QUESTIONNAIRE Please mark your responses to the questions in the corresponding answer blocks with a number two pencil. . HOW DO YOU CLASSIFY YOUR STATION FOR PURPOSES OF YOUR LICENSE? 1) State station; 2) University station; 3) Community station; 4) School system station; 5) Other (Please state:) . HOW MANY FULL-TIME PERSONNEL ARE EMPLOYED BY YOUR STATION? (Please compute part-time employees into the full-time evuivalent.) l) l-lO; 2) ll-lS; 3) 15-25; 4) 25-40; 5) Over 40 . DOES YOUR STATION PRODUCE 16mm. FILM AS PART OF YOUR PROGRAMMING? l) Yes; 2) No . IF YOU DO NOT PRODUCE FILM, IS ANY PROGRAMMING ORIGINATED BY YOUR STATION? 1) Yes; 2) NO . DO YOU PRODUCE DOCUMENTARIES 0R FILMED SPECIALS THAT CONSIST ENTIRELY 0F FILM? (Do not include film inserts used in studio- produced shows.) I) Yes; 2) No . IF YOU DO NOT PRODUCE DOCUMENTARIES OR FILMED PROGRAMS PLEASE INDICATE THE REASON: 1) Insufficient funds available for materials and lab fees; 2) Lack of personnel to execute full—length film pro- ductions; 3) Station management feels that filmed productions are low-priority as a part of your programming; 4) Other (Please indicate) ; 5) Question does not apply. . HOW OFTEN ARE THESE DOCUMENTARIES OR FILMED SPECIALS PRESENTED? l) Bi-monthly; 2) Monthly; 3) Every 2 months; 4) Every 3 months; 5) Every 4 months; 6) Twice per year; 7) Once per year . WHAT IS THE TYPICAL AVERAGE LENGTH OF THESE DOCUMENTARIES OR FILMED SPECIALS? '1) 5-15 min; 2) 16-30 min; 3) 60 min; 4) Over 60 min. . PLEASE INDICATE THE FORM OF YOUR FINISHED FILM (Before videotaping if applicable) l) Spliced original with "wild" sound track (voice and music over); 2) Spliced original with synchronous sound track; 3) Optically printed release print with combined sound track IF SYNCHRONOUS SOUND IS USED IS IT: l) Single-system; 2) Double- system; 3) Synchronous sound is not used PLEASE INDICATE THE USE YOU MAKE OF SCRIPTS FOR YOUR DOCUMENTARIES OR FILMED FEATURE PRODUCTIONS: 1) Scripts are carefully prepared and closely followed; 2) Scripts are used mainly as treatment out- lines; 3) Film crew is seldom limited or structured by a script. ARE YOUR DOCUMENTARIES OR FILMED SPECIALS ADVERTISED BY OR ON ANY MEDIA OTHER THAN YOUR STATION 0R YOUR PROGRAM GUIDE? 1) NO; 2) Com- mercial TV; 3) Commercial radio; 4) Public radio; 5) Newspaper; 6) Direct mail (not program guide); 7) Other (Please state) HOW MANY PERSONNEL DIRECTLY ENGAGED IN FILM PRODUCTION DOES YOUR STATION EMPLOY? 1-9) Mark the number; 10) Ten or more Page l CO 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 81 PTV FILM PRODUCTION SURVEY QUESTIONNAIRE questions below in the corresponding answer Please continue marking your responses to the blocks on page one. QUESTIONS 14 THROUGH 20 DEAL STRICTLY WITH "HARD NEWS" FILM PRODUCTION l4. DOES YOUR STATION PRESENT A REGULARLY SCHEDULED NEWSCAST PROGRAM? 1) Yes; 2) No If your answer is "No" please mark the box on page 1 and disregard items number 15 through 20. 15. HOW OFTEN IS YOUR NEWSCAST SCHEDULED? 1) Dai1y; 2) Week1y; 3) Other (Please state:) 16. WHAT IS THE LENGTH OF YOUR NEWSCAST PROGRAM? 1) 30 min; 2) 60 min; 3) Other (Please state:) 17. WHAT TYPE OF NEWS IS YOUR PROGRAM'S MAIN CONCERN? 1) Local; 2) Regional; 3) State; 4) Other (Please indicate:) 18. DO YOU PRODUCE FILM THAT IS USED IN YOUR NEWSCAST PROGRAM? l)Yes; 2 No 19. HOW MANY MINUTES OF FILM ARE AIRED ON YOUR NEWSCAST PROGRAM PER WEEK? 1) No film is produced; 2) 1-5 min; 3) 6—15 min; 4) 30-60 min; 5) 60-90 min; 6) Over 120 min. 20. DO THE PERSONNEL WHO PRODUCE YOUR NEWSFILM ALSO PRODUCE OTHER TYPES OF FILM FOR YOUR STATION? 1) Yes; 2) No; 3) No news film is produced. QUESTIONS 21-25 ONLY APPLY TO OPERATIONS LICENSED AS UNIVERSITY STATIONS If your operation is NOT a university station please continue with page 3 of this survey. 21. DOES YOUR UNIVERSITY HAVE A TELEVISION AND RADIO DEPARTMENT (OR THE EQUIVALENT) THAT OFFERS COURSES IN CINEMATOGRAPHY? 1) Yes; 2) NO 22. DO THE STUDENTS IN CINEMATOGRAPHY CLASSES WORK WITH THE PTV STATION IN PREPARING AIRED FILM PRODUCTIONS? 1) Yes; 2) No 23. DOES YOUR PTV STATION OFFER A STUDENT INTERNSHIP PROGRAM TO RADIO AND TELEVISION MAJORS? 1) Yes; 2) NO 24. DO PTV STAFF MEMBERS ALSO TEACH COURSES IN THE RADIO AND TELEVISION DEPARTMENT? 1) Yes; 2) No 25. DOES THE FILM PRODUCTION STAFF OF YOUR STATION ALSO SERVE THE UNIVERSITY'S INSTRUCTIONAL MEDIA OR INFORMATION SERVICES DEPARTMENT? 1) Yes; 2) No. Page 2 82 PTV FILM PRODUCTION SURVEY QUESTIONNAIRE HOW MANY MINUTES OF FILM THAT YOU PRODUCE DOES YOUR STATION AIR PER WEEK ON THE AVERAGE? (INCLUDE DOCUMENTARIES, NEWS FILM, AND FILMED PROGRAM-INSERTS LISTED BELOW. IF YOU PRODUCE REGULARLY SCHEDULED STUDIO PROGRAMS THAT INCLUDE FILMED INSERTS PLEASE LIST BELOW. DO NOT INCLUDE HARD NEWS PROGRAMS ALREADY COVERED IN QUESTIONS 14 THROUGH 20 ON PAGE 2. PROGRAM SCHEDULED % FILM TITLE AND LENGTH HOW OFTEN (TIME) SUBJECT MATTER PLEASE COMMENT ON THE ORGANIZATION AND STRUCTURE OF YOUR FILM TEAMS ... DOES ONE MAN REGULARLY SERVE MORE THAN ONE FUNCTION? FOR EXAMPLE, DO PRODUCER-DIRECTORS WRITE, SHOOT, AND EDIT THEIR OWN MATERIAL? Page 3 83 PTV FILM PRODUCTION SURVEY QUESTIONNAIRE PLEASE COMMENT BRIEFLY ON ANY PARTICULAR GUIDELINES OR PROGRAM RATIONALE THAT YOU FOLLOW FOR SELECTING THE SUBJECTS PRESENTED IN YOUR DOCUMENTARIES 0R FILMED PROGRAMS. IF ANY TYPE OF ORGANIZED RESEARCH IS USED IN CONNECTION WITH THE ABOVE QUESTION PLEASE EXPLAIN THE TYPE AND THE EVALUATION METHODOLOGY. PLEASE DESCRIBE ANY AUDIENCE REACTION SURVEYS YOUR STATION HAS RECENTLY CONDUCTED CONCERNING THE FILMED PROGRAMS THAT YOU HAVE PRODUCED AND DESCRIBE THE TYPE OF EVALUATION METHODOLOGY YOU USED. Page 4 84 PTV FILM PRODUCTION SURVEY QUESTIONNAIRE PLEASE COMMENT BRIEFLY ON ANY RECENT FILM PRODUCTION CONTRACTS THAT YOUR STATION HAS UNDERTAKEN OR IS CURRENTLY ENGAGED IN. INCLUDE THE ORGANIZATION FOR WHICH YOU ARE PRODUCING, NATURE OF THE FILM, AND THE TERMS OF THE CONTRACT. PLEASE COMMENT ON ANY PRODUCTION TECHNIQUES YOU HAVE ADOPTED THAT REDUCE YOUR OVER-ALL FILM PRODUCTION COSTS. WHAT FILM PRODUCTION EQUIPMENT DOES YOUR STATION HAVE AT ITS DISPOSAL? Page 5 APPENDIX B FREQUENCY OF RESPONSES TO "CORE" ITEMS 85 86 Table 3. Frequency of Responses to "Core“ Items (By Reporting Stations With Under 10 Personnel) ' UNIVER- COMMUN- SCHOOL ITEM: ATE TOTAL COUNT 3 3 2 2 PROGRAMS ORIGINATED 3 3 1 1 mm PRODUCED ' 3 f j 1 1 OO O (.1) run PERSONNEL . . Doc, (SPEC. PROD 1 ‘ 1 1 REASON ABOVE 'NO" ®® (DCDIEZ G) O O 1121 me. or PRESEN. per year _ per yeui per year NEWSCAST ’PROD. 1 1 2 1 N'CAST W/PIIM 1 1 N'PIIM MEN PRODUCE . 1 1 OTHER FILM REC. SCHED PROGS. ® Q 03 mn FIIM GUIDELINES 1 1 RESEARCH mp. STUDIES 1 PROD. CONTRACTS I i " '1 1‘ NOTE: Circled numbers represent individual station entries; uncircled numbers represent cumula- tive totals for each license classification. 87 Table 4. Frequency of Responses to "Core“ Items (By Reporting Stations With 11 - 15 Personnel) . UNIVER- COMMUN- SCHOOL ITEM: E TOTAL COUNT 4 1 3 PROGRAMS ORIGINATED .4 1 2 run PRODUCED ' A , '1-" 2 OOOO O PIIM PERSONNEL DOC¢SPEC. PROD ‘1 1 REASON ABOVE "NO' E2 lo ‘9 FREQ. 0F PRESEN. per year per year NENSCAST PROD. 2 1 N'CAST w/PIIM 2 1 N'PILM MEN PRODUCE 2 OTHER HIM _ IOOOO O O REG. SCNED PROGS. WITH PIIM GUIDELINES 3 1 RESEARCH 2 AUD. STUDIES 1 PROD. CONTRACTS ' 1 T 1 ‘FI fl NOTE: Circled numbers represent individual station entries: uncircled numbers represent cumula- tive totals for each license classification. 88 Table 5. Frequency of Responses to “Core" Items (By Reporting Stations With 15 - 25 Personnel) A . UNIVER- COMMUN- SCHOOL ITEM : TA E TOTAL COUNT 1: 3 1 2 PROGRAMS ORIGINATED .3 3 1 2 PIIM PRODUCED ‘ 2 ' 2f 1 1 O?) OO O PIIM PERSONNEL . DOC, (SPEC. PROD 2. 2 - 1 REASON ABOVE “N0” E21® ® 9 OO OO O FREQ. 0F PRESEN. jper year per year per year NEWSCAST PROD. 3 1 N'CAST W/PIIM 2 1 N'FILM MEN PRODUCE 1 OTHER PIIM REG. SCHED PROGS. ® (1%) WITH PIIM GUIDELINES 1 1 RESEARCH 1 1 AUD. STUDIES fl PROD. CONTRACTS ' “ ' 1+ ‘ 1 NOTE: Circled numbers represent individual station entries; uncircled numbers represent cumula- tive totals for each license classification. 89 Table 6. Frequency of Responses to “Core” Items (By Reporting Stations With 25 - 40 Personnel) UNIVER- COMMUN- SCHOOL ITEM: ~ ATE TOTAL COUNT 1 2 ’ I, PROGRAMS ORIGINATED 1 2 4 PIIM PRODUCED 1_ 2 3 f 7 7 7 OOOO O OO OOO PIIM PERSONNEL @069 . . _ DOC, (SPEC . PROD 6 r 1 2 3 REASON ABOVE ”NO“ @- O @"F GOO FREQ. 0F PRESEN. perdyear r year per year per year, NEWSCAST PROD. A 1 N'OAST W/FIIM 2 N'FIIM MEN PRODUCE OTHER PIIM OOOO O O OO REG. SCHED PROGS. WITH PIIM GUIDELINES 3 1 1 2 RESEARCH 1 1 1 AUD. STUDIES 1 1 1.. PROD. CONTRACTS 6 1 i 1 1 NOTE: Circled numbers represent individual station entries: uncircled numbers represent cumula- tive totals for each license classification. Table 7. 90 Frequency of Responses to “Core" Items (By Reporting Stations With Over 40 Personnel) . UNIVER- COMMUN- SCHOOL ITEM: STATE 8 4 TOTAL COUNT 5 2 PROGRAMS ORIGINATED , 5 8 2 u PIIM PRODUCED , 5 7, 2 A loose oeeo 9 2 oo- PIIM PERSONNEL @ m E DOC,1SPEC. PROD '1 5 ' 2 ‘1 1-2-3 REASON ABOVE -NO- (Video) poem oooe O are; casts OI] OE! E2 FREQ. 0F PRESEN. per year per year per ygg; pgz_yggzy NEVSCAST "PROD. 3 2 1 N'CAST W/FIIM 2 1 1 N'FIIM MEN PRODUCE 2 1 OTHER PIIM REG SCHED PROGS E G O E WITH PIIM ' @636) GUIDELINES 3 5 1 2 RESEARCH 1 1 AUD. STUDIES 1 2 _ PROD. CONTRACTS u 3 1 3 NOTE: Circled numbers represent individual station entries: uncircled numbers represent cumula- tive totals for each license classification. APPENDIX C RESPONSES OF INDIVIDUAL STATIONS 91 92 APPENDIX C This appendix consists of reproduced (and edited) questionnaire returns submitted by responding stations. These returns are arranged by license classifications and include the following types of stations: 1. University 2. State 3. School System 4. Community Each station entry consists of two parts directly corre- sponding to the questionnaire format. The first section includes responses to the twenty—five structured response items, and the second part includes responses to the sur— vey's "in-depth" section. For sake of brevity only questionnaire items to which individual stations responded are recorded in this appendix. For explanations of the abbreviations in this section the reader's attention is directed to the complete survey questionnaire in Appendix A and the thorough discussion of the same in chapter three. KAMU-TV TEXAS A & M UNIVERSITY COLLEGE STATION, TEXAS CDQOWU'InwaH HHH NI—‘OKO 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. UNIVERSITY 93 CLASSIFICATION Station Personnel 15-25 ADDITIONAL RESPONSE TO FILM PRODUCED NO OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check (X) indicates DOC./SPEC. PROD. NO Egiiggiigd::;:fbed on the REASON #5 "NO" 1 FREQ;_#5 PRESEN. AVG. TIME #5 MIN./WK. LOCAL FILM AIRED 2.5 MIN. Y . . FORM OF FIN. FILM :figgggfigc :gfifiD PROG TYPE OF SYNC' SND' ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 OF FILM DEPARTMENT PROMOTION OF #5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL ORGANIZED RESEARCH NEWSCAST PRODUCED YES REACTION SURVEYS FREQ. OF NEWSCAST DAILY RECENT FILM PRODUCTION TIME OF NEWSCAST 30 MIN. CONTRACTS CONTENT OF " LOCAL PRODUCTION TECHNIQUES FILM PROD. FOR " YES PRODUCTION EQUIPMENT MIN. FILM IN " 1-5 MIN. giggglggtfiEN PROD. YES ADDITIONAL NOTES: ‘ NO FURTHER INFORMATION SUBMITTED UNIV TR DEPT. YES FILM STUDENTS IN No PTV FILM PROD.? PTV INTERNSHIP NO PTV STAFF TEACH YES PTV STAFF SERVE NO INSTR. MEDIA 94 KBGL-TV POCATELLO, IDAHO 1. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL 15—25 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN'END QUESTIONS 4- m... 5. DOC./SPEC. PROD. YES following page. 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. MONTHLY MIN./WK. LOCAL FILM AIRED L30 MIN. 8. AVG. TIME #5 60 MIN. REGULARLY SCHED. PROG. 9. FORM OF FIN. FILM 2 INCLUDING FILM x4;— 10. TYPE OF SYNC. SND. DOUBLE SYs ggGggigAgéggRgMEEEUCTURE 11' USE OF SCRIPTS #5 2 PROGRAM CONTENT GUIDELINES 12. PROMOTION OF #5 NEWSPAPER ORGANIZED RESEARCH x 13. FILM PERSONNEL 5 REACTION SURVEYS NONE 14. NEWSCAST PRODUCED NO RECENT FILM PRODUCTION 15. FREQ. of NEWSCAST CONTRACTS NONE 16. TIME OF NEWSCAST PRODUCTION TECHNIQUES 17. CONTENT OF " PRODUCTION EQUIPMENT x 18. FILM PROD. FOR " 19. MIN. FILM IN " ADDITIONAL NOTES: 20' giggilggtfiEN PROD' SEE FOLLOWING PAGE 21. UNIV. TR DEPT. NO 22. FILM STUDENTS IN NO PTV FILM PROD.? 23. PTV INTERNSHIP NO 24. PTV STAFF TEACH YES 25. PTV STAFF SERVE YES INSTR. MEDIA 95 KBGL-TV--continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: Weekly 1 Hour (100% film)--ISU Football (During football season only) Monthly 30 Min. (100% film)--"Snake River Anthology," Area items of interest and concern. Monthly 30 Min. (50% film)--"The Providers," Concerns farming. Weekly 30 Min. (5% film)--"Idaho Looks at the World." Various--Seasona1 Specials; usually 100% film. ORGANIZATION OF FILM DEPARTMENT: Presently key members of the KBGL-TV staff have been trained in film. Producer-directors ... generally write, shoot, and edit their own material. Occasionally a three man team is employed (writer, cameraman, and editor). A good deal of interchangeability occurs due to the station's size. PROGRAM GUIDELINES: KBGL-TV reports their program guidelines stem from "... items of area interest or concern. This ranges from sports to politics. Items covered should be a specific subject of wide interest to the viewer. Special interest programs such as the "Providers" are beamed to one special group--farmers." ORGANIZED RESEARCH: Producer-directors are responsible for researching particu- lar assignments; part-time student employees are used for assistance. PRODUCTION EQUIPMENT: Full complement of equipment for primarily single-system production. Miscellaneous editing and sound equipment. KBYU-TV C 306 HFAC. BRIGHAM YOUNG UNIVERSITY PROVO, UTAH 84602 96 1. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN—END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check (7() indicates 5. DOC./SPEC. PROD. YES :::§::::gd::;:fbed °n the 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. BI-YEARLY 8. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 10 9. FORM OF FIN. FILM RELEASE :figgfigfigé EEEED° PROG' 10. TYPE OF SYNC. SND. DOUBLE SYS ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT x + 12. PROMOTION OF #5 NEWSPAPER PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL 2 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS 15. FREQ. OF NEWSCAST 3 PER WK. RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN. CONTRACTS ** 17 CONTENT OF " LOCAL PRODUCTION TECHNIQUES 18. FILM PROD. FOR " YES PRODUCTION EQUIPMENT 19. MIN. FILM IN " 105 MIN. 20. NEWSFILM MEN PROD. YES ADDITIONAL NOTES: 49THER FILM? + . 21 UNIV. TR DEPT. YES *Producer-directors do-it-all 224 FILM STUDENTS IN YES *"Exclu51v1ty of material" PTV FILM PROD.? "all our own" 23. PTV INTERNSHIP YES SEE FOLLOWING PAGE 24 PTV STAFF TEACH YES 251 PTV STAFF SERVE NO INSTR. MEDIA 97 KBYU-TV--continued PRODUCTION TECHNIQUES: KBYU suggests sending much of their work out to the univer- sity's motion picture department. "... they have been trained in TV production by our film personnel. They also attend TV film seminars, etc. This arrangement eliminates much duplication of equipment." PRODUCTION EQUIPMENT: With the back up of the motion picture department KBYU Claims to have "virtually anything available on the market." ICESD-TV SOUTH DAKOTA STATE UNIVERSITY 98 BROOKINGS, SOUTH DAKOTA 1. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL 25—40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN—END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()(3 indicates 5. DOC./SPEC. PROD. YES iziiggiigd::;:fbed 0“ the 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. AQUARTERLY 8. AVG. TIME #5 16—30 MIN. Mlgi/WK‘ LOCAL FILM AIRED 9. FORM OF m. m 2 $33333; gggv- PROG- 10. TYPE OF SYNC. SND. SINGLE SYS ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT * 12. PROMOTION OF #5 1, NO PROGRAM CONTENT GUIDELINES NONE 13. FILM PERSONNEL 2 ORGANIZED RESEARCH NONE 14. NEWSCAST PRODUCED NO , REACTION SURVEYS NONE 15. FREQ, OF NEWSCAST RECENT FILM PRODUCTION + 16. TIME OF NEWSCAST CONTRACTS NONE 17. CONTENT OF " PRODUCTION TECHNIQUES 18. FILM PROD. FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? * ...... TR 3: Eziszziuzizgii:sczizzditiis. 22. FILM STUDENTS IN + PTV FILM PROD.? NO "At the moment" 23. PTV INTERNSHIP NO 24. PTV STAFF TEACH YES 25. PTV STAFF SERVE INSTR. MEDIA YES KNCT - CENTRAL TEXAS COLLEGE HIGHWAY 190 WEST KILLEEN, TEXAS 76541 13. 14. 15. 16. 17. 18° 19. 20. 21. 22. 23. 24. 25. 99 CLASSIFICATION UNIVERSITY STATION PERSONNEL 11-15 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check (>() indicates DOC./SPEC. PROD. YES Eziiggizgd::;:%bed °n the REASON #5 "NO" N/A FREQ. #5 PRESEN. YEARLY , AVG. TIME #5 5-15 MIN. MIN.ZWK. LOCAL FILM AIRED 15-30 MIN FORM OF FIN. FILM 1, 3 REGULARLY SCHED. PROG. TYPE OF SYNC. SND. DOUBLE SYS INCLUDING FILM X USE OF SCRIPTS #5 2 ggcggifiAgéggR;M:§$UCTURE * PROMOTION OF #5 NO PROGRAM CONTENT GUIDELINES + FILM PERSONNEL 2 ORGANIZED RESEARCH NEWSCAST PRODUCED YES REACTION SURVEYS FREQ: OF NEWSCAST DAILY RECENT FILM PRODUCTION TIME OF NEWSCAST 30 MIN. CONTRACTS CONTENT OF " LOCAL PRODUCTION TECHNIQUES FILM PROD. FOR " YES PRODUCTION EQUIPMENT MIN. FILM IN " 6-15 MIN. NEWSFILM MEN PROD. YES ADDITIONAL NOTES: OTHER FILM? UNIV. TR DEPT. YES REGULARLY SCHED: FILM STUDENTS IN YES 3 per wk. 30 Min (3-5% film) PTV FILM PROD.? "Three to Get Ready," children's PTV INTERNSHIP YES Program .. ...... .... PTV STAFF SERVE YES INSTR. MEDIA * Two "do-it-all" producer/directors + . . In order of Importance: Community Service, Student Training, and College Exten. KPBS-TV SAN DIEGO STATE COLLEGE SAN DIEGO, CALIFORNIA 92115 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 100 CLASSIFICATION UNIVERSITY STATION PERSONNEL 25-40 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC. PROD. YES Egiizgiigd::;:%bed on the REASON #5 "NO" N/A FREQ. #5 PRESEN. 3/YEAR AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 30 MIN. Y . . FORM OF FIN. FILM RELEASE figggggigc EEESD FROG x TYPE OF SYNC. SND. DOUBLE SYS ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 1 OF FILM DEPARTMENT PROMOTION OF #5 4, 5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL 4 ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS FREQi OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS + CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR." PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? UNIV. TR DEPT. YES SEE FOLLOWING PAGE :TVMFIEHDEEOE.:N YES +"Adequate pre-production...." PTV INTERNSHIP YES PTV STAFF TEACH YES PTV STAFF SERVE INSTR. MEDIA NO 101 KPBS-TV--continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM:. Bi-monthly 30 Min. (90% film)—«"Ecology Course" Bi-monthly 30 to 60 Min. (10% film)v«"Pub1ic Affairs" ORGANIZATION OF FILM DEPT: "A11 cinematographers operate cameras, lights, run audio, mix, and edit. Some also direct and/or produce." PROGRAM GUIDELINES: "Ideas presented to programming department and okayed.... Also proposals presented for grants and accepted...." RECENT FILM PRODUCTION CONTRACTS: NEH - 1 hr. documentary on Urban Space $130,000. NEH/CPS — Two half-hours on Small Towns 40,000. each CPB - Four one—half hours on Jack Bronowski 15,000. each PTL — One-half hour Artist in America 15,000. Museum - One ten—minute Oriental Art 5,000. KTSC-TV CHANNEL 8 SOUTHERN COLORADO STATE COLLEGE PUEBLO, COLORADO 81005 1. 2. 3. 4. 5. 6. 7. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 102 CLASSIFICATION UNIVERSITY STATION PERSONNEL UNDER 10 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN'END QUESTIONS PROG. ORIGINATED YES NOTE: Check (7() indicates DOC./SPEC. PROD. NO response described on the follOWIng page. REASON #5 "NO" 1, 2 FREQ. #5 PRESEN. AVG. TIME #5 MIN./WK. LOCAL FILM AIRED 2 MIN. REGULARLY SCHED. PROG. F . FORM 0 FIN FILM INCLUDING FILM TYPE OF SYNC“ SND’ ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 OF FILM DEPARTMENT X PROMOTION OF #5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS NONE FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS‘ CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION_EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? Personnel include a production UNIV. TR DEPT- NO manager, a producer/director, and 2 or 3 student part-time producers. FILM STUDENTS IN Nearly all work is done on tape PTV FILM PROD.? since funds are largely unavailable PTV INTERNSHIP NO for film production. PTV STAFF TEACH YES PTV STAFF SERVE INSTR. MEDIA NO KTWU-TV PUBLIC BROADCASTING SERVICE SIGNAL HILL 103 TOPEKA, KANSAS 66604 1. CLASSIFICATION UNIVERSITY ' 2. STATION PERSONNEL UNDER 10 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Cheek (X) Indicates response described on the 5. DOC./SPEC. PROD. YES following page. 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. YEARLY MIN./WK. LOCAL FILM AIRED 5 MIN. 8. AVG. TIME #5 30 MIN. REGULARLY SCHED. PROG. 9. FORM OF FIN. FILM RELEASE INCLUDING FILM X ORGANIZATION & STRUCTURE 10. TYPE OF SYNC. SND. SINGLE SYS OF FILM DEPARTMENT . RIP 11 USE OF SC TS #5 3 PROGRAM CONTENT GUIDELINES XX 12. PROMOTION OF #5 NO ORGANIZED RESEARCH 13. FILM PERSONNEL 1 REACTION SURVEYS + 14. NEWSCAST PRODUCED NO RECENT FILM PRODUCTION 15. FREQ. OF NEWSCAST CONTRACTS NONE 16. TIME OF NEWSCAST PRODUCTION TECHNIQUES l7. CONTENT OF " PRODUCTION EQUIPMENT X 18. FILM PROD. FOR " 19. MIN. FILM IN " ADDITIONAL NOTES: ' . % f' 20' NEWSFILM MEN PROD' ngilzogiigtnShéio" Uiit) football OTHER FILM? ' ' Monthly 30 Min. (0-100% film) 21' UNIV' TR DEPT' YES "Eureka! Topeka!" Local pub. affairs, 22. FILM STUDENTS IN cultural. [P V FILM P D.? . T ’80 YES GUIDELINES: Program director works 23. PTV INTERNSHIP YES with community organizations to discuss 24. PTV STAFF TEACH YES EOSSlble program toPlcs' m 5.... m S:e:::°22::::.:°1:e::::ei ...... INSTR; MEDIA NO ' EQUIP: One silent camera plus misc. All sound gear rented as needed. KTXT-TV EDUCATIONAL TELEVISION TEXAS TECH UNIVERSITY LUBBOCK, TEXAS 79409 21. 22. 23. 24. 25. 104 CLASSIFICATION UNIVERSITY STATION PERSONNEL 15-25 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC. PROD. YES Eziiggijgd::::%bed on the REASON #5 "NO" N/A FREQ, #5 PRESEN. 2 PER YR. AVG. TIME #5 30 MIN. MIN./WK LOCAL FILM AIRED 30 MIN. FORM OF FIN. FILM 3, RELEASE figfififi: :53” PROG‘ x TYPE OF SYNC. SND. DOUBLE SYS ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 1 OF FILM DEPARTMENT PROMOTION OF #5 4,5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL 2 ORGANIZED RESEARCH NEWSCAST PRODUCED YES REACTION SURVEYS NONE FREQ. OF NEWSCAST WEEKLY RECENT FILM PRODUCTION TIME OF NEWSCAST 15 MIN. CONTRACTS NONE CONTENT OF " CAMPUS PRODUCTION TECHNIQUES x FILM PROD. FOR " YES PRODUCTION EQUIPMENT x MIN. FILM IN " 1-5 MIN. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? NO SEE FOLLOWING PAGE UNIV. TR DEPT. YES FILM STUDENTS IN PTV FILM PROD.? NO PTV INTERNSHIP NO PTV STAFF TEACH NO PTV STAFF SERVE INSTR. MEDIA NO 105 KTXT-TV--continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: Weekly 30 Min.(30% film)--"South Plains Artists" Artistic perusal of local area. Weekly 30 Min. (20% film)--"A Closer Look" Minority oriented--topics of local interest. Weekly 30 Min. (20% film)-—"Collage" Deals with all items of immediate importance to members of local community. Weekly 30 Min. (50% film)--"Of the People" A look at local city government and how it is run. ORGANIZATION OF FILM TEAMS: Producer-directors write and arrange their own material. They also do their own editing, but a full-time cameraman does the shooting with the help of a sound technician who doubles from another staff position. PROGRAM GUIDELINES: Most material selected deals with local effects of nationally-oriented occurrences. Also material on local uni- versity, scientific, or literary events is presented when it is of regional or national interest. ORGANIZED RESEARCH: Evaluation is made on an individual program basis by the producer-director and the program manager. Research is only carried out to discern the interest factor involved in the presentation of the program. PRODUCTION TECHNIQUES: Cost of production of locally-broadcast film is reduced by KTXT-TV by transferring film to video tape and syncing audio (from k" mag tape) via an RCA built Uni-Lock unit. Final video tape editing is accomplished electronically. PRODUCTION EQUIPMENT: Eclair NPR with 9.5 to 95 mm zoom and all accessories Nagra IV recorder Colortran equipment 2 - Bell & Howell 16 mm. cameras Auricon single system optical Full complement of editing equipment plus darkroom facilities. KUED-TV UNIVERSITY OF UTAH SALT LAKE CITY, UTAH 106 l. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL 25-40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN'END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()() indicates 5. DOC./SPEC. PROD.” YES. response described on the follOWIng page. 6. REASON #5 "NO“ N/A 7. FREQ. #5 PRESEN. YEARLY . * 8. AVG. TIME #5 30 MIN. MIN‘/WK' LOCAL FILM AIRED 5 REGULARLY SCHED. PROG. 9. FORM OF FIN. FILM RELEASE INCLUDING FILM 2g 10 TYPE OF SYNC. SND. SINGLE. ORGANIZATION & STRUCTURE ll. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT X 12. PROMOTION OF #5 NONE PROGRAM CONTENT GUIDELINES + 13. FILM PERSONNEL 3 ORGANIZED RESEARCH NONE l4 NEWSCAST PRODUCED NO .. REACTION SURVEYS NONE 15. FREQ. OF NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS 17‘ CONTENT OF " PRODUCTION TECHNIQUES ‘“ 184 FILM PROD. FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: * OTHER FILM? Includes filmed program—inserts and 21. UNIV. TR DEPT. YES "I.D.'S." 22* PTVMFIEHDPHES :N NO "... whatever the administration " wants to do, or whatever the film 23. PTV INTERNSHIP NO ' department can talk them into...." 24 PTV STAFF TEACH YES SEE FOLLOWING PAGE 25w PTV STAFF SERVE INSTR. MEDIA YES 107 KUED-TV--continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: Weekly 30 Min. (5% film)--"Civic Dialog,u ... deals with land use. Weekly 30 Min. (5% film)--"Seven Scene," ... local people, etc. ORGANIZATION OF FILM DEPT. Producer-directors write, shoot, edit and produce their own material.* Specific jobs are assigned to production personnel on longer film projects. NOTE: *applies to short productions or film Clips. PRODUCTION CONTRACTS: Film department is currently working on a series of 12 min. films for the State Board of Higher Education. This series deals with the Junior Colleges in the state. Further details were not reported. PRODUCTION TECHNIQUES: Save film, save money ... keep the shooting ratio low. KUED also has equipment to perform their own sound transfers which saves lab fees. EQUIPMENT: Arriflex Bl, Nagra, Moviola, Magna-Sync (transfer) 2 editing benches (complete), and Bell & Howell silent 16mm. KUID-TV MOSCOW, IDAHO 83843 108 1. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL 15-25 ADDITIONAL RESPONSE TO 34 FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()() indicates 5. DOC./SPEC. PROD. YES :::§::::gd::;:fbed on the 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. QUARTERLY 8. AVG. TIME #5 30 MIN. MIN‘/WK' LOCAL FILM AIRED 9. FORM OF FIN. FILM 2 figgg‘gfié :gfin' PROG' 10. TYPE OF SYNC. SND. SINGLE SYS ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT 12. PROMOTION OF #5 COMM.RADIO PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL 5 fl ORGANIZED RESEARCH 14. NEWSCAST PRODUCED NO REACTION SURVEYS 15. FREQ, OF NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS 17. CONTENT OF " PRODUCTION TECHNIQUES 18. FILM PROD. FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? COMMENT ON PAGE 3: TOO TIME CON- 21. UNIV. TR DEPT. YES SUMING! 22. FILM STUDENTS IN PTV FILM PROD-? NO 23. PTV INTERNSHIP NO 24. PTV STAFF TEACH YES 25. PTV STAFF SERVE INSTR. MEDIA NO 109 KVCRrFM-TV 701 5. MT. VERNON AVENUE SAN BERNARDINO, CALIF. 92403 1. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL 15—25 ADDITIONAL RESPONSE TO 3. FILM PRODUCED NO OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()() indicates 5. DOC.[SPEC. PROD. NO response described on the follow1ng page. 6. REASON #5 "NO" 1,2 7. FREQ. #5 PRESEN. 8. AVG. TIME #5 MIN./WK. LOCAL FILM AIRED REGULARLY SCHED. PROG. 9. FORM OF FIN. FILM INCLUDING FILM 10° TYPE OF SYNO‘ SND' ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 OF FILM DEPARTMENT 12. PROMOTION OF #5 PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS 15. FREQ. OF NEWSCAST WEEKLY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN.. CONTRACTS 17. CONTENT OF " LOC, REG. PRODUCTION TECHNIQUES P 189 FILM PROD. FOR " NO RODUCTION EQUIPMENT 19. MIN. FILM IN " NONE 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? N/A 21. UNIV. TR DEPT. YES 22. FILM STUDENTS IN PTV FILM PROD.? NO 23. PTV INTERNSHIP NO 24. PTV STAFF TEACH YES 25. PTV STAFF SERVE INSTR. MEDIA NO. 110 KWSU-TV WASHINGTON STATE UNIVERSITY PULLMAN, WASHINGTON l. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL ll-lS ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check (X) indicates 5° DOC./SPEC. PROD. YES response described on the follow1ng page. 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. MONTHLY 8. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 15 MIN. 90 FORM OF FIN. FILM 2,3 REGULARLY SCHED. PROG. DI G FI + 10. TYPE OF SYNC. SND. 1,2 INCLU N LM ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT * . M 12 PRO OTION OF #5 2'3’4'5 PROGRAM CONTENT GUIDELINES l3. FILM PERSONNEL. 2 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS 15. FREQ. OF NEWSCAST WEEKLY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN. CONTRACTS 17. CONTENT OF, " LOCAL PRODUCTION TECHNIQUES 18. FILM PROD. FOR " YES PRODUCTION EQUIPMENT 19. MIN. FILM IN " ‘ 6-15 MIN. 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? YES + Weekly 30 Min. (10% film) 0 O P O I O 21 UNIV TR DE T YES "Idea Thing," Pub. affairs and 22. FILM STUDENTS IN University extension. PTV FI PR .? Y . . . LM OD ES Bi-Monthly 60 Min. (50% film) 23. PTV INTERNSHIP YES "Patterns of Imagination," perform- 24. PTV STAFF TEACH NO ance and experimental. * 25. PTV STAFF SERVE Producer-director writes and some- INSTR. MEDIA NO times directs; Head film man handles all the mechanics of production with the help of an assistant. WBGU-TV CHANNEL 57 BOWLING GREEN STATE UNIVERSITY BOWLING GREEN, OHIO 43403 111 1. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL 25—40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check (X) indicates 5. DOC./SPEC. PROD. YES §::§::::gd::;:fbed on the 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. YEARLY £3. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 1-3 MIN. 9. FORM OF FIN. FILM 3, RELEASE figgfigfié Sign PROG' x 11). TYPE OF SYNC. SND. DOUBLE SYS ORGANIZATION & STRUCTURE 1]“. USE OF SCRIPTS #5 1 OF FILM DEPARTMENT :12. PROMOTION OF #5 4,5 PROGRAM CONTENT GUIDELINES 1:3. FILM PERSONNEL 2 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS x :15. FREQ. OF NEWSCAST MON.-FRI. RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN. CONTRACTS 17. CONTENT OF. " STATE () indicates 5. DOC./SPEC. PROD. YES response described on the follow1ng page. 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. YEARLY 80 AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 70 MIN. REGULARLY SCHED. PROG. 9. FORM OF FIN. FILM 2 1' INCLUDING FILM x 10. TYPE OF SYNC. SND. l 2 ' ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 3 OF FILM DEPARTMENT x NEWS REL., 12. PROMOTION OF #5 4 5 PROGRAM CONTENT GUIDELINES x I 139 FILM PERSONNEL 3 ORGANIZED RESEARCH x 14. NEWSCAST PRODUCED YES REACTION SURVEYS X RECENT FILM PRODUCTION . RE . F EWS ST DAI Y 15 P .Q. 0 N CA L CONTRACTS . TIME F WS MI . 16 0 NE CAST 30’15 N PRODUCTION TECHNIQUES . C NTE " . STAT 17 0 NT OF Lee ' E PRODUCTION EQUIPMENT 18. FILM PROD. FOR " YES 19. MIN. FILM IN " 6-15 MIN. ADDITIONAL NOTES: 20. NEWSFILM MEN PROD. OTHER FILM? Ne SEE FOLLOWING PAGE 21. UNIV. TR DEPT. YES 22. FILM STUDENTS IN PTV FILM PROD-? YES 23. PTV INTERNSHIP NO 24. PTV STAFF TEACH YES 25. PTV STAFF SERVE INSTR. MEDIA NO 128 WSIU-TV-—continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: Weekly 30 Min. (50% film)--"Outdoors with Art Reid," deals with hunting, fishing, etc. Weekly 30 Min. (BO-40% film)--"Sportempo," college and highschool sports. ORGANIZATION OF FILM DEPARTMENT: News film class shoots film for news under supervision of student staff member. News student reporters do writing and editing. Full-time PTV staff members (producer-directors) supervise student staff for weekly half-hour program; students share responsibility for preparation of various seg- ments. Producer-directors who use inserts shoot or supervise the shooting of their own film. GUIDELINES: Weekly filmed program is strictly local (coverage area) interest; "Spotlight on Southern Illinois"-—self-explanatory; topics include festivals, hobbies, events, etc. ORGANIZED RESEARCH: "Finding interesting subjects for and about the people of southern Illinois is the main objective." AUDIENCE REACTION SURVEYS: "None--we must rely on viewer reaction that is unsolici- ted: letters, phone calls, etc. Radio and TV classes some- times Conduct telephone surveys as class projects." FILM PRODUCTION CONTRACTS: No film production contracts produced "outside the uni— versity." Recent in-house film, "The Violin Maker," in distribution by A.C.I. Films, New York. Other recently pro- duced films were Public Relations films for the university. PRODUCTION TECHNIQUES: Use students for credit of "love, shooting ratio. pre—plan, lower 129 WVUT-Tv 1029 N. FOURTH ST. VINCENNES, INDIANA 47591 1. CLASSIFICATION UNIVERSITY 2. STATION PERSONNEL UNDER 10 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUEST?ONS 4. PROG. ORIGINATED YES NOTE: Cheek (?(’ Indicates response described on the 5. DOC./SPEC. PROD. NO following page. 6. REASON #5 "NO" 1 7. FREQ, #5 PRESEN. 80 AVG. TIME #5 MIN./WK. LOCAL FILM AIRED REGULARLY SCHED . PROG. 9. FORM OF FIN. FILM INCLUDING FILM . YP F . . 10 T E O SYNC SND ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 OF FILM DEPARTMENT 12. PROMOTION OF #5 pg PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL 2 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS 15. FREQ, OF NEWSCAST DAILY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 15 MIN. CONTRACTS 17° CONTENT OF . " LOCAL PRODUCTION TECHNIQUES 18. FILM PROD“ FOR " YES PRODUCTION EQUIPMENT 19. MIN. FILM IN " 1-5 MIN.. 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? NO * 21. UNIV. TR DEPT. YES Three 16mm. cameras 22. FILM STUDENTS IN One 16 mm.b/w film processor PTV FILM PROD.? YES 23. PTV INTERNSHIP NO 24. PTV STAFF TEACH NO 25. PTV STAFF SERVE INSTR. MEDIA NO WWVU-TV P. 0. BOX TV 24 MORGANTOWN, WEST VIRGINIA 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 130 CLASSIFICATION UNIVERSITY STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO FILM PRODUCED YES - OPEN-END QUESTIONS PROG. ORIGINATED. YES NOTE: Check ()() indicates DOC./SPEC. PROD. YES response described on the REASON #5 "NO" N/A following page. FREQ. #5 PRESEN. BI—YEARLY AVG. TIME #5 30 MIN. FORM OF FIN. FILM 1,213 MIN./WK. LOCAL FILM AIRED 10-15 MIN. TYPE OF SYNC. SND. 1.2 333331;; 333- PROG- x USE OF SCRIPTS #5 112'3 ORGANIZATION & STRUCTURE PROMOTION OF #5 2,3,4,5,+ OF FILM DEPARTMENT FILM PERSONNEL 4 PROGRAM CONTENT GUIDELINES NEWSCAST PRODUCED .NO ORGANIZED RESEARCH FREQ. OF NEWSCAST REACTION SURVEYS NONE TIME OF NEWSCAST RECENT FILM PRODUCTION CONTENT OF " CONTRACTS FILM PROD. FOR " PRODUCTION TECHNIQUES MIN. FILM IN " PRODUCTION EQUIPMENT NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. YES giéMFigngfigg.:N NO +Add'l promo: "Univ. P.R. Dept." PTV INTERNSHIP NO PTV STAFF TEACH YES SEE ADDITIONAL PAGE PTV STAFF SERVE INSTR. MEDIA YES 131 WWVU—TV——continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: Weekly 30 Min. (20% film)--"Mountain Scene, "Weekly magazine Show; journalistic approach. Weekly 30 Min. (80% film)--"Capitol Beat," legislative cover- age. During legislative session only. Plans call for replacement of film by video tape soon. ORGANIZATION OF FILM DEPT: Three cinematographers: one usually heads filming. Film men double as producer-directors and other functions. PROGRAM GUIDELINES: Material selected for film treatment must be "... pro- grams that can best be done on film rather than video tape." Specifically, "issues and stories mostly of statewide con- cern." PRODUCTION CONTRACTS: Most "production contracts" take the form of instruc- tional and informative films produced for various departments of West Virginia University. Contracts in this case take the form of "letters of accord." A film was recently completed for the West Virginia State Legislature dealing with poll- workers entitled "Protecting the Ballot." In this case the contract was an act of the legislature. PRODUCTION.EQUIPMENT: Full complement of equipment for all phases of single and double system sound production, editing, etc. KDIN-CHANNEL 11 2801 BELL AVENUE 132 DES MOINES, IOWA 50321 1. CLASSIFICATION STATE 2. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN—END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check (>(i indicates 5. DOC./SPEC. PROD. YES response described on the 6. REASON #5 "NO" N/A fOIIOWing Page‘ 7. FREQ. #5 PRESEN. MONTHLY 8. AVG. TIME #5 30 MIN. MIN./WK LOCAL FILM AIRED 15 MIN. 9. FORM OF FIN. FILM 2,3 REGULARLY SCHED. PROG. 10. TYPE OF SYNC. SND. DOUBLE SYS INCLUDING FILM 11. USE OF SCRIPTS #5 1 ggsggigAggggRgMEEEUCTURE 12. PROMOTION OF #5 NEWSPAPER PROGRAM CONTENT GUIDELINES 13’ FILM PERSONNEL 10 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED NO REACTION SURVEYS 15‘—§§§9’ OF NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS 17. CONTENT OF " PRODUCTION TECHNIQUES 18. FILM PROD. FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? 21' UNIV' TR DEPT' SEE FOLLOWING PAGE 22. FILM STUDENTS IN PTV FILM PROD.? 23. PTV INTERNSHIP 24. PTV STAFF TEACH 25. PTV STAFF SERVE INSTR. MEDIA 133 KDIN-TV--continued PROGRAM GUIDELINES: Program material is selected on the basis that it is ... generic to Iowa, public affairs, topics in general that have not been extensively covered." ORGANIZED RESEARCH FOR MATERIAL SELECTION: Historical or background research, phone interviews, and person to person interviews are methods used to gather information and are used as leads. AUDIENCE REACTION: No organized surveys have been conducted regarding audience reaction. All feedback is either voluntary by letter, or is verbalized upon encounter. FILM PRODUCTION CONTRACTS: Most recent project was three half-hour films on various subjects pertinent to the humanities. This was on a match- ing-fund grant basis under the National Endowment for the Humanities. PRODUCTION TECHNIQUES: Suggestions include: 2 to 3 men field crews, local processing, edited original (no work print), transfer to video tape for air, and limited travel--on a limited budget. EQUIPMENT: Full complement of silent and sound equipment. KETA-TV 1700 ASP AVENUE NORMAN, OKLAHOMA 73069 \OCDQmmnD-wNH ha F‘ H k) F‘ o O O O 13. 14. 15. 16. 17° 18. 19° 20. 21. 22. 23. 24. 25. 134 CLASSIFICATION STATE STATION PERSONNEL 15-25 ADDITIONAL RESPONSE TO FILM PRODUCED NO OPEN—END QUESTIONS PROG. ORIGINATED YES NOTE: Check (X) indicates DOC . [SPEC. PROD. NO :gii’gfiigdgngbed on the % REASON #5 "NO" 3 .R FREQ. #5 PRESEN. ‘ AVG' TIME #5 MIN./WK. LOCAL FILM AIRED NONE ‘ FORM OF FIN’ FILM REGULARLY SCHED. PROG. 4;‘ TYPE OF SYNC. SND. INCLUDING FILM + g USE OF SCRIPTS #5 ORGANIZATION & STRUCTURE PROMOTION OF #5 OF FILM DEPARTMENT FILM PERSONNEL PROGRAM CONTENT GUIDELINES NEWSCAST PRODUCED NO ORGANIZED RESEARCH FREQ. OF NEWSCAST REACTION SURVEYS TIME OF NEWSCAST RECENT FILM PRODUCTION CONTENT OF " CONTRACTS FILM PROD. FOR " PRODUCTION TECHNIQUES MIN. FILM IN " PRODUCTIONAEQUIPMENT NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. FILM STUDENTS IN PTV FILM PROD.? +Weekly 30 Min. (1% film), "Focus" public affairs program. PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA Comment: "as a matter of actuality KETA does not have sufficient in- house equipment to produce quality film. KOAP-TV PORTLAND, OREGON 1. CLASSIFICATION STATE 2. STATION PERSONNEL 25-40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4' PROG' ORIGINATED YES NOTE: Check ()<) indicates 5. DOC./SPEC. PROD. YES response described on the 6. REASON #5 "NO" N/A f°ll°Wing page' a 7. FREQ. #5 PRESEN. 2 PER YR. "\a 8‘ AVG' TIME #5 30 MIN‘ MINt/WK. LOCAL FILM AIRED ; 9. FORM OF FIN. FILM 1 REGULARLY SCHED. PROG. 5,4 10. TYPE OF SYNC. SND. INCLUDING FILM + L ‘ 11. USE OF SCRIPTS #5 2 ORGANIZATION & STRUCTURE 5 12. PROMOTION OF #5 OF FILM DEPARTMENT 13. FILM PERSONNEL 1 PROGRAM CONTENT GUIDELINES 14. NEWSCAST PRODUCED NO ORGANIZED RESEARCH 15. FREQ. OF NEWSCAST REACTION SURVEYS 16. TIME OF NEWSCAST EggggicgéLM PRODUCTION 17' CONTENT OF " PRODUCTION TECHNIQUES 18’ FILM PROD‘ FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20' ggggglggLfigN PROD‘ ADDITIONAL NOTES: 21. UNIV. TR DEPT. + _ . 22. FILM STUDENTS IN 3/Wk’ 30 Min' (}7% £11m? PTV FILM PROD.? Feedback, various subjects. 23° PTV INTERNSHIP agngllsTfiigésf§%V::i:Us subjects. 24. PTV STAFF TEACH 25. PTV STAFF SERVE NO FURTHER INFORMATION SUPPLIED 135 INSTR. MEDIA NEBRASKA ETV NETWORK/KUONTTV 136 UNIVERSITY OF NEBRASKA BOX 83111 LINCOLN, NEBRASKA LINCOLN, NEBRASKA 68501 1. CLASSIFICATION STATE/UNIV. 2. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO 30 FILM PRODUCED YES OPEN—END QUESTIONS . PR . GI A D Y . . 4 0G ORI N TE ES NOTE: Check ()() indicates 5. DOC./SPEC. PROD. YES response described on the 6. REASON #5 "NO" EZA f°ll°WIng Page' 7. FREQ, #5 PRESEN. MONTHLY 8. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 40 MIN. 9. FORM OF FIN. FILM 2 REGULARLY SCHED. PROG.) 10. TYPE OF SYNC. SND. SINGLE SYS INCLUDING FILM X ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 1 OF FILM DEPARTMENT X 12’ PROMOTION OF #5 5'6 PROGRAM CONTENT GUIDELINES x 13' FILM PERSONNEL 7 ORGANIZED RESEARCH XX 14. NEWSCAST PRODUCED NO REACTION SURVEYS X 15' FREQ' OF NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS X 170 CONTENT OF " PRODUCTION TECHNIQUES X 18. FILM PROD. FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? NOTE: Information furnished by Mr. 21' UNIV' TR DEPT“ YES Ron Hull of the Nebraska ETV Network. 22. FILM STUDENTS IN This information includes activities PTV FILM PROD.? N0 of the 165 member state network in addition to KUON—TV licensed to the 23' PTV INTERNSHIP NO University of Nebraska at Lincoln. 24. PTV STAFF TEACH YES 25. PTV STAFF SERVE SEE FOLLOWING PAGES INSTR. MEDIA NO 137 KUON-TV——continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: Weekly 30 Min. (33% film)—-"NU and U"——Summary of campus activities by P. R. Department. Weekly 60 Min. (25% film)--"The Grand Generation," Infor— mation for retired persons. Monthly 60 Min. (20% film)—-"The Killers," Follow—up to national PBS program on major causes of death. Various——Program inserts for weekly instructional programs. ORGANIZATION AND STRUCTURE OF FILM TEAMS: Ordinarily a three-man film team (camera, audio, grip) accompanies producer on location for major productions. Same arrangement applies to film clips unless little work is involved. In this case producer does-it-all. Three Cinematographers also edit on a rotating basis. Occasionally Cinematographers will edit their own material. PROGRAM GUIDELINES: Most of our filmed projects are conceived and funded through our special projects unit. For the most part they involve subject matter that is of interest to an organiza- tion outside our station. The senior editor (producer) in this unit prepares a project proposal and budget which he uses to 'sell' the project to the organization. Our major criterion for devoting staff and materials to such a project is to produce programming which will air on the Nebraska ETV Network if the program manager and his advisory groups feel that such programming is worthwhile to the network, the Special Projects Senior Producer is respon- sible for developing the idea and obtaining funding. ORGANIZED RESEARCH: Content research only involved. Full time writer/ researcher pulls together material for the special projects proposals. REACTION SURVEYS: No recent audience reaction surveys on any programming (including film programs). ‘Ium-“fimmuflfllif 138 KUON-TV, KUON-NEBRASKA ETV--continued PTV FILM PRODUCTION SURVEY QUESTIONNAIRE PLEASE COMMENT BRIEFLY ON ANY RECENT FILM PRODUCTION CON- TRACTS THAT YOUR STATION HAS UNDERTAKEN OR IS CURRENTLY ENGAGED IN. INCLUDE THE ORGANIZATION FOR WHICH YOU ARE PRODUCING, NATURE OF THE FILM, AND THE TERMS OF THE CONTRACT. We do not produce films under contract in the strict legal sense of the term. We do produce them under grants and agreements. We are currently involved in three film projects, two of which are funded through partial grants. These are being done for the station itself with sole responsi- bility for the content of those programs, both of them in the area of art and artists, is the stations. The third project comes closer to a contractual operation than the other two. It is being done for the College of Agriculture who in turn are doing it for the American Oil Company. The film has to do with the uses of lubricant in everyday farming operations in the state. The terms of the "contract" are that we will provide an answer print ready for release printing to the lab. Neither the writing of the script nor the distribution of release prints are part of our contract. PLEASE COMMENT ON ANY PRODUCTION TECHNIQUES YOU HAVE ADOPTED THAT REDUCE YOUR OVER-ALL FILM PRODUCTION COSTS During 13M} last three years our goal has been to upgrade the technical quality of film production. This has meant the elimination of single system work, while increasing the use of quality double system equipment and techniques. Because we're producing a significant volume of double system production, it is not fair to say that our procedures have really reduced overall film production costs. Rather than use an editing bench and then transfer the double system footage through an expensive inter- lock system, we are uding a Steenbeck flat-bed editor for preparing the footage and then transfering the picture and sound to videotape through the use of a color film chain synced to a Nagra IV.2 audio tape machine. To use a flat-bed editing table rather than the editing bench saves a lot of man-hours. Using the color film chain and Nagra audio recorder has saved the cost of an interlock projector. WHAT FILM PRODUCTION EQUIPMENT DOES YOUR STATION HAVE AT ITS DISPOSAL? 2 Auricon 16mm Cine-Voice Cameras with 400' Conversion and Angenieux 12 to 120mm Zoom Lenses; Bolex H-l6 Rex 5 Camera and Motorized Vario Switar Zoom 16 to 100mm Zoom Lens; Bolex H-l6 Rex 4 Camera and Kern Vario-Switar 18 to 86mm Zoom Lens; Bell and Howell 16mm Camera; 2 Nagra IV-L Tape Recorders; Arriflex l6S/B-GS Camera and 12/120mm Angenieux Lens; Arriflex 139 KUON-TV, KUON-NEBRASKA ETV——continued l6BL Camera and BL 12/120mm Abgebueyx Lens; Nagra IV.2 L Synchronous Audio Recorder; Electric Zoom Drive for Angenieux Lens; 8 Plate Steenbeck Flat—bed Editing Table (two screen); 6 Plate KEM Universal Editing Machine; 6 16mm Moviscope Viewers; Precision Sound Reader (16mm Mag. and Optical); Ediquip 2 Gang Synchronizer with l Mag. Head; Ediquip 4 Gang Synchronizer with 4 Mag. Heads; Moviola 2 Gang Synchronizer with l Mag. Head; Moviola 6 Gang Sync Driver and 6 Mag. Heads; Moviola 4 Gang Syn“ chronizer with 3 Mag. Heads; 4 Port. Hot Splicers;.4 Guillotine Tape Splicers; 3 Rivas-Cunningham 16mm Splicers; 12 sets of Rewinds; Magnasync Transfer Recorder; and assorted tripods, lights, power belts, etc. KYNE-TV, CHANNEL 26 UNO BOX 688 OMAHA, 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. NEBRASKA 68101 140 L. CLASSIFICATION UNIV.,STATE (50—50) STATION PERSONNEL 15-25 ADDITIONAL RESPONSE TO EILM PRODUCED YES OPEN—END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()K) indicates DOCL/SPEC. PROD. YES response described on the folIOWing page. REASON #5 "NO" N/A FREQ. #5 PRESEN. BI-MONTHLY * AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED REGULARLY SCHED. PROG. FORM OF FIN. FILM 2 INCLUDING FILM YPE F Y . . I T O S NC SND S NGLE ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 1 OF FILM DEPARTMENT PROMOTION OF #5 ITV LIBS. PROGRAM CONTENT GUIDELINES FILM PERSONNEL 2 ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS ** FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS X CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION EQUIPMENT MINIMAL MIN. FILM IN " NEWSFILM MEN PROD. ADDITIONAL NOTES: R ? * . . . . OTHE FILM PrinCIpally 15 min. ITV film per UNIV. TR DEPT. YES week. Schedule includes approx. .... .....NT. m 3 :23: 3: 332:: 92:33“: ...... PTV FILM PROD.? YES Y P y ° + . PTV INTERNSHIP YES Producer-director plus teacher- PTV STAFF TEACH YES writer-producer handle all phases of production. PTV STAFF SERVE ** INSTR. MEDIA YES No general audience; school as noted on following page. SEE FOLLOWING PAGE 141 KYNE-TV-—continued PROGRAM GUIDELINES: Program guidelines and specifics are determined by the producer—director, teacher—researcher, and State Department of Education Curriculum Advisor. ORGANIZED RESEARCH: Extensive research and evaluation is conducted by the Omaha School Systems specifically, and the Nebraska state“ wide school systems generally. FILM PRODUCTION CONTRACTS: Two recent productions listed: for Nebraska.Depart— .ment of Education, and local program for the University of Nebraska, Omaha (UNO), Department of Physical Education. No details on either production were given. WAIQ-TV MONTGOMERY PTV CENTER PETERSON FIELD MONTGOMERY, ALABAMA 36107 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 142 CLASSIFICATION STATE STATION PERSONNEL UNDER 10 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC. PROD. YES :::§::::gd::;:fbed on the REASON #5 "NO" N/A FREQ. #5 PRESEN. MONTHLY AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 18 FORM OF FIN. FILM TAPE EDIT fifiggggigé EEEED‘ PROG' TYPE OF SYNC. SND. SINGLE SYS ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 2 OF FILM DEPARTMENT PROMOTION OF #5 1 PROGRAM CONTENT GUIDELINES * FILM PERSONNEL 1 ORGANIZED RESEARCH NONE NEWSCAST PRODUCED YES REACTION SURVEYS NONE FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS NONE CONTENT OF " PRODUCTION TECHNIQUES + FILM PROD. FOR" PRODUCTION EQUIPMENT x MIN. FILM IN " ADDITIONAL NOTES: NEWSFILM MEN PROD. OTHER FILM? * u ... interest to general Alabama UNIV. TR DEPT. public, or reachable, identifiable minorities. Journalistic standards. FILM STUDENTS IN PTV FILM PROD.? PTV INTERNSHIP ...Film to tape dubs to reduce handling and to allow use of still frames as PTV STAFF TEACH time extender and subject empha- PTV STAFF SERVE INSTR. MEDIA Sizer. PROD. EQUIP.: Arri B1, Nagra, Bolex, and a minimal amount of support equipment. 143 WBIQ-TV BIRMINDHAM , ALABAMA NOTE: The above station is a transmitter for the Alabama ETV Commission and originates no programming. Alabama ETV Commission 2101 Magnolia Avenue Birmingham, Alabama 35205 The Alabama Public TV Network has contracts with seven production agencies to provide programs for the network.* *Denis N. Stark Assistant Manager Alabama ETV Commission 144 WBSE-TV 600 MT. PLEASANT AVENUE PROVIDENCE, RHODE ISLAND 02908 1. CLASSIFICATION STATE 2. STATION PERSONNEL 25-40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN—END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()<) indicates 5. DOC./SPEC. PROD. YES response described on the follow1ng page. 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. YEARLY 8. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 5 9. FORM OF FIN. FILM RELEASE REGULARLY SCHED. PROG. 10. TYPE OF SYNC. SND. DOUBLE SYS INCLUDING FILM X ORGANIZATION & STRUCTURE ll. USE OF SCRIPTS #5 3 OF FILM DEPARTMENT * . P M F 12 R0 OTION O #5 NEWSPAPER PROGRAM CONTENT GUIDELINES . F LM PER 13 I SONNEL 2 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED NO REACTION SURVEYS . F . 15 REQ’ Of NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS l7. CONTENT OF " PRODUCTION TECHNIQUES 18. FILM PROD. FOR " PRODUCTION EQUIPMENT + 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FI ? * . . LM Producer-directors write, Shoot, 21. UNIV. TR DEPT. and edit their own material. 22. FILM STUDENTS IN + PTV FILM PROD.? All necessary equipment for small- 23. PTV INTERNSHIP scale single-and-double-system sound filming and production. 24. PTV STAFF TEACH 25. PTV STAFF SERVE Two programs regularly produced that INSTR. MEDIA include film, both 30 min., sched- uled at 4 month intervals, and both including approx. 5 min. film. Content is minority programming (SpaniSh and Portuguese), and a .Senior citizen series, "The Time of Our Lives." WNJT-TV NEW JERSEY PUBLIC BROADCASTING 1573 PARKSIDE AVENUE 145 TRENTON, NEw JERSEY 1. CLASSIFICATION STATE 2. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED NOTE: Check (>() indicates 5. DOC./SPEC. PROD. YES :::§::::gd::;:fbed on the 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. MONTHLY 8. AVG. TIME #5 16—30 MIN. MIN./WK. LOCAL FILM AIRED 3-6 HRS 9. FORM OF FIN. FILM 1,2,3 NNSEUDEN: ggfifin' PROG' x 10’ TYPE OF SYNC’ SND' 1’2 ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT 12. PROMOTION OF #5 NEWSPAPER PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL. 25 ORGANIZED RESEARCH 14. N WSCAST PRODUCED YES REACTION SURVEYS 15. FREQ, OF NEWSCAST DAILY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN. CONTRACTS 17. CONTENT OF " STATE PRODUCTION TECHNIQUES 18° FILM PROD. FOR " YES PRODUCTION EQUIPMENT 19. MIN. FILM IN " 6-15 PER. 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? NO 21. UNIV. TR DEPT. SEE FOLLOWING PAGE 22. FILM STUDENTS IN PTV FILM PROD.? 23. PTV INTERNSHIP 24. PTV STAFF TEACH 25. PTV STAFF SERVE INSTR. MEDIA 146 WNJT-TV--continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: WNJT lists only one regularly scheduled program that includes in-house film. This is a weekly sports presenta- tion entitled "That's It for Sports" which runs for thirty minutes and is roughly fifty percent film. "Most all (other) film is used on special projects or non-regularly scheduled programs." ORGANIZATION OF FILM DEPARTMENT: Film personnel number twenty-five and include a film director, six cameramen, one sound man with assistant crew, four editors, two film processors, one still photographer, plus a film librarian and a secretary. Producer-directors do not shoot their own work but it was reported that some edit and write their own material. PROGRAM GUIDELINES: The only program guidelines reported by WNJT were that the "programs must be concerned with people and things in the state and region." FILM PRODUCTION CONTRACTS: All films are produced "for the station," and are offer- ed to EEN and PBS for distribution. The most recent ones reported included a gambling documentary, three or four minority docs, and an auto racing film. MONEY SAVING PRODUCTION TECHNIQUES: Three man crews, black and white work prints, and pro- cessing own film were the money saving hints offered by WNJT. EQUIPMENT:- Equipment listed by WNJT included several of practical- ly everything known to the film-making trade. In all they have more than plenty to keep all 25 film men busy at once. WSWP-TV l. 2. 3. 4. 5. 6. 7. 8. 9. 10. ll. 12. 13. 147 P. 0. BOX AH BECKLEY, WEST VIRGINIA 25801 CLASSIFICATION STATE STATION PERSONNEL 25—40 ADDITIONAL RESPONSE TO FILM PRODUCED NO OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check (X) indices DOC./SPEC. PROD. NO :::§:3::gd::;:fbed on the REASON #5 "NO" ** FREQ;g#5 PRESEN. AVG. TIME #5 MIN./WK. LOCAL FILM AIRED * FORM O. :1... mm 113-3315333113; ggggn- PROG- TYPE OF SYNC' SND‘ ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 OF FILM DEPARTMENT PROMOTION OF #5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS 14. 15. l6. 17. 18. 19. 20. 21. 22. 23. 24. 25. FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION EQUIPMENT X MIN. FILM. IN " ADDITIONAL NOTES: NEWSFILM MEN PROD. OTHER FILM? * Occasional film clips produced UNIV. TR DEPT. individually by producer—directors FILM STUDENTS IN PTV FILM PROD.? for program inserts. ** Station utilizes mobile production PTV INTERNSHIP van (video) in lieu of film. PTV STAFF TEACH PRODUCTION EQUIPMENT: Includes PTV STAFF SERVE INSTR. MEDIA one silent camera, and minimal editing facilities. WUNC-TV UNIVERSITY TELEVISION SWAIN HALL CHAPEL HILL, NORTH CAROLINA 27514 C. C 0 u> a) \1 as u: a. h).k) F‘ l-‘ O 11. 12. 13. 14. 15. 16. l7. 18. 19. 20. 21. 22. 23. 24. 25. 148 CLASSIFICATION ++ STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check (X) indicates DOC.[SPEC. PROD. YES ;::§::::gd::;:fbee en the REASON #5 "No" N/A FREQ, #5 PRESEN. 4 MO. INT AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 30 MIN. FORM OF FIN. FILM RELEASE ifiggggigé SEESD' PROG' * TYPE OF SYNC. SND. DOUBLE SYS ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 2 OF FILM DEPARTMENT PROMOTION OF #5 NO PROGRAM CONTENT GUIDELINES FILM PERSONNEL l ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES ** FILM PROD. FOR " PRODUCTION EQUIPMENT MIN’ FILM IN " ADDITIONAL NOTES: giggilfigtfigN PROD' ++STATE UNIVERSITY NETWORK UNIV. TR DEPT. YES *Weekly 30 Min. (20% film) FILM STUDENTS IN "North Carolina This Week," PTV FILM PROD.? NO public affairs program. ... W No 12:2: :2.:::..:2°:.:1:::. PTV STAFF TEACH YES * PTV STAFF SERVE "Always remove the lends cap before INSTR. MEDIA NO preSSIng the gg_button...." GEORGIA ETV NETWORK FILM DEPARTMENT ATLANTA, GEORGIA 1].. 12. 13. 14. 15. 16. 17.. 18. 19.. 20. 21. 22. 23. 24. 25. 149 CLASSIFICATION SCHOOL SYS STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN—END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()0 indicates DOC./SPEC. PROD. YES :::§::::gd::;:fbed on the REASON #5 .NO" N/A FREQ. #5 PRESEN. QUARTERLY AVG. TIME #5 60 MIN. MIN./WK. LOCAL FILM AIRED 60 MIN. FORM OF FIN. FILM RELEASE :figgggigé :EESD‘ PROG‘ 'x TYPE OF SYNC. SND. SINGLE SYS ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 2 OF FILM DEPARTMENT PROMOTION OF #5 NO ADD'L PROGRAM CONTENT GUIDELINES FILM PERSONNEL 2 ORGANIZED RESEARCH NEWSCAST PRODUCED REACTION SURVEYS NONE‘ FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS x CONTENT OF " PRODUCTION TECHNIQUES PRODUCTION EQUIPMENT x FILM PRODo FOR " MIN. FILM IN " NEWSFILM MEN PRODo OTHER FILM? ADDITIONAL NOTES: SEE FOLLOWING PAGE UNIV. TR DEPT° FILM STUDENTS IN PTV FILM PROD.? PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA 150 GEORGIA ETV NETWORKvncontinued REGULARLY PRODUCED PROGRAMS INCLUDING FILM: Weekly 15 Min. (5—10 Min. film)--"Music Series" Weekly 15 Min. (5-10 Min. film)--"l974," Current Affairs Weekly 15 Min. (up to 15 min. film)--"Georgia Series" ORGANIZATION OF FILM DEPARTMENT: Film unit is structured of one, two—man team. Both of these individuals perform all tasks involved in single and double system operations. Usually a TV director is charged with producing a script and general scheduling of time, locations, and talent. Generally speaking, both film men act as director-technical personnel. PARTICULAR GUIDELINES.FOR PROGRAM MATERIAL: Georgia ETV Network has a program development unit which is in charge of programming material. The film men service this department as technical personnel. FILM PRODUCTION CONTRACTS: Most documentary productions are made for state agen- cies; no "out of state" production is currently underway. The Network is currently planning a production for NIT which will use the Network's facilities, equipment, and personnel; funding will come from NIT. EQUIPMENT: Full complement of single and double system sound gear plus editing facilities, sound facilities, etc. KETH-TV 45 SANTA TERESA STREET SAN JOSE, CALIFORNIA 95110 1. 2. 3. 4. 5. 6. 8. 9. 10. 11. 12. l3. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 151 CLASSIFICATION SCHOOL SYS STATION PERSONNEL 11—15 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check (X) indicates DOC./SPEC. PROD. YES Egiizgifigd::;:fbed on the REASON #5 "NO" N/A FREQ, #5 PRESEN. YEARLY AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 8 MIN. FORM OF FIN. FILM RELEASE fifiggggigé :gfiiD' PROG. + TYPE OF SYNC. SND. SINGLE SYS . ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 3 OF FILM DEPARTMENT * PROMOTION OF #5 NEWSPAPER PROGRAM CONTENT GUIDELINES ++ FILM PERSONNEL 1 ORGANIZED RESEARCH NONE NEWSCAST PRODUCED YES REACTION SURVEYS NONE FREQ, OF NEWSCAST WEEKLY RECENT FILM PRODUCTION TIME OF NEWSCAST 30 MIN. CONTRACTS NONE CONTENT OF " LOCAL PRODUCTION TECHNIQUES FILM PROD. FOR " YES PRODUCTION EQUIPMENT X MIN. FILM IN " 6—15 MIN. f NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? NO +Monthly follow-up to the "Killers" UNIV. TR DEPT. 30 min., 45% film. :TVMFIEMDEEEE.:N *PRODUCER—DIRECTOR(S) handle all aspects of film production. PTV INTERNSHIP ++"What we can't bring into the PTV STAFF TEACH studio to shoot....” IEZTifAfigDiiRVE E UIPMENT: Minimum 16mm. silent gear; sound equipment rented.when needed. KLVX-TV 5700 MOUNTAIN VISTA LAS VEGAS, NEVADA 89170 2. 3. 4. 5. 6. 7. 8. 9. 10. ll. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23° 24. 25. 152 CLASSIFICATION SCHOOL SYS. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOCL/SPEC. PROD. YES :::§::::gd::;:%bed on the REASON #5 "NO" FREQ. #5 PRESEN. MONTHLY AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED . Y . . FORM OF FIN. FILM RELEASE ISSEUSIEG SEESD FROG TYPE OF SYNC. SND. SINGLE SYS ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 1 OF FILM DEPARTMENT PROMOTION OF #5 NEWSPAPER PROGRAM CONTENT GUIDELINES x FILM PERSONNEL. 9 ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS FREQ, OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES FULL FILM PROD. FOR " PRODUCTION EQUIPMENT LINE MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. GUIDELINES: "Most are requested by FILM STUDENTS IN PTV FILM PROD.? outside organizations or agencies." PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA 153 KPEC-TV 4400 STEILACOOM BLVD. TACOMA, WASHINGTON 98499 1. CLASSIFICATION SCHOOL SYS. 2. STATION PERSONNEL 25—40 ADDITIONAL RESPONSE To 3. FILM PRODUCED YES OPEN—END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()0 indicates 5. DOC.Z§PEC. PROD. YES :zifiggiggd::;:fbed °n the 6. REASON #5 "NO". N/A 7. FREQ, #5 PRESEN. QUARTERLY 80 AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED quMIN. 9. FORM OF FIN. FILM 2 ifiggggigé EEEED° PROG' x 10. TYPE OF SYNC. SND. DOUBLE SYS. ,ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT ‘x 12. PROMOTION OF #5 ‘ NEWSPAPER. PROGRAM CONTENT GUIDELINES xx 13. FILM PERSONNEL 1—9 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS x 15. FREQ. OF NEWSCAST DAILY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 15 MIN. CONTRACTS x 17. CONTENT OF n 1,213 PRODUCTION TECHNIQUES 189 FILM PROD. FOR " NO PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. ADDITIONAL NOTES‘ OTHER FILM? 21. UNIV. TR DEPT. SEE FOLLOWING PAGE 22. FILM STUDENTS IN PTV FILM PROD.? 23. PTV INTERNSHIP 24. PTV STAFF TEACH 25. PTV STAFF SERVE INSTR. MEDIA 154 KPEC-TV--continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: Monthly 30 Min. (100% film)--Varied subject matter, monthly public affairs. Weekly 15-20 Min. (20-30% film)--Various ITV programs using filmed inserts. ORGANIZATION OF FILM DEPARTMENT: Film team consists of cameraman-editor, producer, and one student as general grip. Producer writes, edits, and often shoots film for various productions. Two full-time cameramen-editors also produce film as well as do still photography. PROGRAM GUIDELINES: Filmed segments consist of instructional and PTV (eve- ning adult) subjects. The instructional films are mostly specific segments ordered by teachers who are also producers of their own programs. The PTV films are usually full-length programs. Subject matter is chosen by a committee on the basis of importance and relevance to the community. Subjects that lend themselves to immediate comments and questions are chosen for "feedback" programs. ORGANIZED RESEARCH: The organized research is done by the producer in the form of literature and personal interviewing. Evaluation of the research and its thoroughness is an ongoing procedure between the producer, program director, and the production manager. AUDIENCE REACTION SURVEYS: No organized reaction surveys reported as such; reac- tions are measured via "call-in" programs which elicit "... a good response." RECENT FILM PRODUCTION CONTRACTS: Eight filmstrips for the State of Washington for use in driver education and traffic safety program. Guidelines sup- plied by the state. Also two hour-long films produced under a grant for CPS/PBS. CPB maintained full control, KPEC ' acted as production agent. Films dealt with environment of Tacoma area. . KPSP-TV 3911 S. REGAL STREET SPOKANE, WASHINGTON 99203 O uoooqmm-nwwt-a #4 F‘ P‘ F‘ F‘ .A c» h: F‘ o O O O O O 155 CLASSIFICATION SCHOOL SYS STATION PERSONNEL lSeZS ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN—END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()<) indicates DOC./SPEC. PROD. No :::§::::gd::;:fbed on the REASON #5 "NO" 1,2 , FREQ, #5 PRESEN. N/A AVG. TIME #5 MIN./WK LOCAL FILM AIRED 3Q¢MIN. FORM OF FIN. FILM RELEASE :figgfigiié SEEED' PROG‘ 4 TYPE OF SYNC. SND. SINGLE SYS ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 2 OF FILM DEPARTMENT ' x PROMOTION OF #5 PROGRAM CONTENT GUIDELINES * FILM PERSONNEL ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS H U1 0 FREQ. OF NEWSCAST RECENT FILM PRODUCTION ... 0" 0 TIME OF NEWSCAST CONTRACTS ...; \l O CONTENT OF " PRODUCTION TECHNIQUES H (D FILM PROD. FOR " PRODUCTION EQUIPMENT MIN. ...: \O 0 MIN. FILM IN " SINGLE' SYSTEM N O 9 NEWSFILM MEN PROD. OTHER FILM? 21. UNIV. TR DEPT. ADDITIONAL NOTES: 22. FILM STUDENTS IN PTV FILM PROD.? + Weekly 20 Min. (25% film)——"News for Young People." 23. PTV INTERNSHIP * Material for above program is se- 24. PTV STAFF TEACH lected by a teacher. Material is geared to 2, 3, and 4th grade audi— 25. PTV STAFF SERVE INSTR. MEDIA ence. Material reflects local and national events. STRUCTURE OF FILM DEPARTMENT: Producer—directors write, shoot, and edit their own material. Seldom a "team" effort; usually only one man involved. KTPS-TV P. 0. BOX 1357 TACOMA, WASHINGTON 98401 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. ll. 12. 13. 14. 15. 16. 17. 18° 19. 20. 21. 22. 23. 24. 25. 156 CLASSIFICATION SCHOOL SYS STATION PERSONNEL 15—25 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC. PROD. NO Ezifzziigd::;:fbee on the REASON #5 "NO" 2 FREQ. #5 PRESEN. AVG. TIME #5 MIN./WK. LOCAL FILM AIRED 231m. Y HE . P G. FORM OF FIN. FILM :figgtgigc EELMD Re x TYPE OF SYNC' SND’ ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 OF FILM DEPARTMENT PROMOTION OF #5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. Weekly 20 Min. (10% film)--"Science and Industry." FILM STUDENTS IN PTV FILM PROD.? NO FUTRHER INFORMATION SUPPLIED PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA KWCMHTV 128 WEST SORENSEN APPLETON, MINNESOTA 56208 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 157 CLASSIFICATION SCHOOL STATION PERSONNEL UNDER 10 ADDITIONAL RESPONSE To FILM PRODUCED NO OPEN-END QUESTIONS PROG. ORIGINATED NO NOTE: Check ()() indicates DOC./SPEC. PROD. NO :::§::::gd::::fbee on the REASON #5 "NO" 1 FREQ . OF PRESEN. AVG. TIME #5 MIN./WK. LOCAL FILM AIRED Y . PR . FORM OF FIN. FILM ISSEUSING EEEED OG TYPE OF SYNC‘ SND‘ ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 OF FILM DEPARTMENT PROMOTION OF #5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL ORGANIZED RESEARCH NEWSCAST PRODUCED YES REACTION SURVEYS FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. NO FURTHER INFORMATION GIVEN. FILM STUDENTS IN PTV FILM PROD.? PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA KYVE-TV 1105 SOUTH 15th AVENUE 158 YAKIMA, WASHINGTON 98902 1. CLASSIFICATION SCHOOL SYS. 2. STATION PERSONNEL UNDER 10 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()() indicates 5. DOCLASPEC. PROD. YES ;::§::::gd::;:Tbed on the 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN 2 MO.INT. 8. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 60 MIN. 9. FORM OF FIN. FILM 2,3 figgggfi: :gHmEdD' PROG' x 10' TYPE OF SYNC’ SND’ 1’2 ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT 12. PROMOTION OF #5 3,5,6 PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL 1 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS NONE 15. FREQ. OF NEWSCAST WEEKLY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN. CONTRACTS x 17. CONTENT OF " LOCAL PRODUCTION TECHNIQUES ** 18° FILM PROD. FOR " YEs PRODUCTION EQUIPMENT x 19. MIN. FILM IN " 6-15 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? YES +"Public interest." 21. UNIV. TR DEPT. 22. FILM STUDENTS IN *"Whatever is required to do a PTV FILM PROD.? professional, responsible job." 23' PTV INTERNSHIP **"Tight management." 24. PTV STAFF TEACH 25. PTV STAFF SERVE SEE FOLLOWING PAGE INSTR° MEDIA 159 KYVE-TV--continued PROGRAMS REGULARLY SCHEDULED INCLUDING FILM: Weekly 30 Min. (10% film)--Calendar of Local Events Weekly 30 Min. (10% film)--Political Discussion Bi-Monthly 3O Min.(50% film)--Cultural Affairs ORGANIZATION OF FILM TEAMS: No "film teams" as such. Personnel include: l- staff photographer--does not do all film 2- producer-directors who do film 1- public affairs director who does film FILM PRODUCTION CONTRACTS: Most recent production contract involved producing a documentary on "... the ethnic heritages of the Yakima Valley and their contribution to 1976 American character." No other material listed other than the fact that the pro— gram was produced for the American Revolution Bicentennial Commission. PRODUCTION EQUIPMENT: Minimal amount to produce single and double system sound plus editing equipment. WMFE-TV 2908 W. OAK RIDGE ROAD 160 ORLANDO, FLORIDA 32809 1. CLASSIFICATION SCHOOL SYS 2. STATION PERSONNEL 25-40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4.. PROG. ORIGINATED YES NOTE: Check (X) indicates 5. DOC./SPEC. PROD. YES response described on the follow1ng page. 6. REASON #5 "NO" N/A 70 FREQ. #5 PRESEN. MONTHLY 8. AVG. TIME #5 30 MIN. MIN./WK LOCAL FILM AIRED 10 MIN. REGULARLY SCHED. PROG. . F F . F 9 ORM O FIN ILM 2 INCLUDING FILM . YP F . . Y 10 T E O SYNC 8ND SINGLE S S ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 1 OF FILM DEPARTMENT * 12. PROMOTION OF #5 PROGRAM CONTENT GUIDELINES ** 13. FILM PERSONNEL NO ORGANIZED RESEARCH + 14. NEWSCAST PRODUCED REACTION SURVEYS 15u FREQ. OF NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS X H ll 17. CONTENT OF " PRODUCTION TECHNIQUES THEFT 18. FILM PROD, FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN "' 200 NEWSFILM MEN PRODT ADDITIONAL NOTES: OTHER FILM? * _ ' fl _' _ n 21. UNIV. TR DEPT. Cross trained, do It all personnel. ** 22. FILM STUDENTS IN "Transparently educational." PTV FILM PROD.? + 23, PTV INTERNSHIP Producers find experts In the com- munity and state.... . F C . 24 PTV STAF TEA H PRODUCTION CONTRACTS: Two listed: 25. PTV STAFF SERVE School Board and Swedish Broadcasting INSTR. MEDIA Corp. NO further information. KIXE-TV P. O. DRAWER BH REDDING, CALIFORNIA 96001 t O Q C O O ( \OGJQO‘U'IAWNH O b-‘l—‘H [OI—'0 13. 14. 15. l6. 17. 18. 19. 20. 21. 22. 23. 24. 25. 161 CLASSIFICATION COMMUNITY . STATION PERSONNEL UNDER 10 ADDITIONAL RESPONSE TO FILM PRODUCED NO OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC. PROD. NO E::§::::gd::::fbed on the REASON #5 "NO" 1 FREQ. #5 PRESEN. AVG. TIME #5 MIN./WK. LOCAL FILM AIRED REG Y S . PRO . FORM OF FIN. FILM INCEUEING FEEED G TYPE OF SYNC’ SND‘ ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 OF FILM DEPARTMENT PROMOTION OF #5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. FILM STUDENTS IN PTV FILM PROD.? PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA WCAE-TV 123 SESAME STREET ST. 0 C. O t (J 0 koooqmmpwww O k) F3 F“ ha h» h» F‘ F‘ k4 ha h: o \o (n ~4 0\ U1 A» u: k) h‘ o 21. 22. 23. 24. 25. 162 1". n “I we V JOHN, INDIANA 46373 CLASSIFICATION COMMUNITY STATION PERSONNEL UNDER 10 ADDITIONAL RESPONSE TO FILM PRODUCED NO OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC. PROD. NO :::§::::gd::::fbee on the REASON #5 "NO" 1,2 FREQ’ #5 PRESEN“ MIN./WK. LOCAL FILM AIRED I. ’ AVG‘ TIME #5 REGULARLY SCHED. PROG. » FORM OF FIN. FILM INCLUDING FILM * ’.-‘ TYPE OF SYNC. SND. ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 OF FILM DEPARTMENT PROMOTION OF #5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL ORGANIZED RESEARCH NEWSCAST PRODUCED YES REACTION SURVEYS F PR I FREQ. OF NEWSCAST DAILY :§§$§:CT:LM ODUCT ON TIME OF NEWSCAST 15 MIN. PRODUCTION TECHNEQUBS CONTENT OF " LOCAL PRODUCTION EQUIPMENT FILM PROD. FOR " NO ‘ MIN“ FILM IN " 1'5 MIN+ ADDITIONAL NOTES: NEWSFILM MEN PROD. OTHER FILM? N/A +Stock film, not produced in house. UNIV. TR DEPT. FILM STUDENTS IN PTV FILM PROD.? * "FILMMAKERS' SHOWCASE" Weekly. 30:00 Student films highlighted. PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTRo MEDIA WCBB-TV P. 0. BOX 958 LEWISTON, MAINE 04240 O O O C mQOWLflwaH 0 10. ll. l2. 13. 14. 15. l6. 17. 18. 19. 20. 21. 22. 23. 24. 25. 163 CLASSIFICATION COMMUNITY STATION PERSONNEL 15-25 ADDITIONAL RESPONSE TO FILM PRODUCED NO OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check (>() indicates DOC./SPEC. PROD. NO Egiiggiige::;:%bee on the REASON #5 "NO" 1 FREQ. #5 PRESEN. AVG' TIME #5 MIN./WK. LOCAL FILM AIRED FORM OF FIN' FILM REGULARLY SCHED. PROG. . . TYPE OF SYNC. SND. INCLUDING FILM *J USE OF SCRIPTS #5 ORGANIZATION & STRUCTURE . PROMOTION OF #5 OF FILM DEPARTMENT FILM PERSONNEL PROGRAM CONTENT GUIDELINES NEWSCAST PRODUCED NO ORGANIZED RESEARCH FREQ. OF NEWSCAST ’ REACTION SURVEYS TIME OF NEWSCAST RECENT FILM PRODUCTION CONTENT OF " CONTRACTS FILM PROD. FOR " PRODUCTION TECHNIQUES MIN. FILM IN " PRODUCTION EQUIPMENT NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. FILM STUDENTS IN PTV FILM PROD.? PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA _ . l. 2. 3. 4. 5. 7. 8. 9. 10. ll. l2. 13. 164 WEDH-Tv 24 SUMMIT STREET NEW HAVEN, CONNECTICUT 06106 CLASSIFICATION COMMUNITY STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO P - D I FILM PRODUCED YES 0 EN EN QUEST 0N8 PROG. ORIGINATED YES NOTE: Check (><) indicates ns ib d on th DOC./SPEC. PROD. NO reepe .e deser e e following page. REASON #5 "NO" 1,2 FREQ. #5 PRESEN. 2 MO..INT. MI . WK. L FIIM AIRED 20 AVG. TIME #5 30 MIN. Nc/ OCAL REGULARLY SCHED. PROG. FORM OF FIN. FILM 2 INCLUDING FILM TYPE OF SYNC“ SND‘ 1'2 ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 2 , OF FILM DEPARTMENT x u _ PROMOTION OF #5 TESEEINA PROGRAM CONTENT GUIDELINES FILM PERSONNEL 2 ORGANIZED RESEARCH R Y NEWSCAST PRODUCED .NO REACTION 8U VB S 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS * CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM?. ADDITIONAL NOTES: Film personnel include one cinematog- UNIV. TR DEPT. rapher and one full time assistant FILM STUDENTS IN PTV FILM PROD.? to servide the producers. * Recently completed a film on careers PTV INTERNSHIP in medicine with foundation support. PTV STAFF TEACH No further information supplied. PTV STAFF SERVE INSTR. MEDIA 165 WETA-TV 3620 27th STREET, SOUTH ARLINGTON, VIRGINIA 22206 1. CLASSIFICATION COMMUNITY 2. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()() indicates 5. DOC./SPEC. PROD. YES ;::§::::ge::;:%bee 0“ the 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. QUARTERLY 8. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED NOT REP. Y . . 9. FORM OF FIN. FILM 2 EESEESEEG gggfie FROG x 10. TYPE OF SYNC. SND. DOUBLE SYS. ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 2 OF FILM DEPARTMENT x 12. PROMOTION OF #5 NO PROGRAM CONTENT GUIDELINES x 13. FILM PERSONNEL 2 ORGANIZED RESEARCH NONE 14. NEWSCAST PRODUCED NO REACTION SURVEYS NONE 15. FREQ. OF NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS 176 CONTENT OF " PRODUCTION TECHNIQUES 18. FILM PROD. FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " I : 20. NEWSFILM MEN PROD. ADDIT ONAL NOTES OTHER FILM? SEE FOLLOWING PAGE 21. UNIV. TR DEPT. 22. FILM STUDENTS IN PTV FILM PROD.? 23. PTV INTERNSHIP 24. PTV STAFF TEACH 25. PTV STAFF SERVE INSTR. MEDIA 166 WETA—TV—vcontinued REGULARLY SCHEDULED PROGRAMS.INCLUDING FILM: Weekly 30 Min. (5% film)--"Whatever" Variety. Weekly 60 Min. (10% film)--"Ebony Reflections" Black variety. Weekly 20 Min. (100% film)--"Matter of Fact"--Educational Produced by WETA for N.I.T. Weekly 15 Min. (15% film)--"Cover to Cover" Educational Quarterly 30 to 60 Min. (20-50% film)--"Metro" Community special Projects. ( ------- ) 30 Min. (100% film)--Specials covering specific people. ORGANIZATION OF FILM DEPARTMENT: Producers write, and in most cases Cinematographers direct, shoot and edit the material. In some cases a producer- writer is also the director, with the film maker assuming all other responsibilities. Staff consists of two full-time film makers. Additional help, when needed, is hired on a per job basis. PROGRAM GUIDELINES: Programming department holds meetings periodically to discuss future programs and Specials. Producers, directors, and research people all contribute ideas. RECENT FILM PRODUCTION CONTRACTS: 1. Fifteen 20 Min. film programs for N.I.T. to encour- age junior high-school students to read books. Title of series, "Matter of Fact," national distribution. 2. "Born in the Blues," a documentary on Arthur Gruddup. Produced for WETA, 30 Min. 3. "Success Story," Three one-hour documentaries demon— strating the success of certain federal work-training pro- grams in the USA. Produced for the Department of Labor. 4. "The Scientist," a 30 min. documentary produced for the National Science Foundation dealing with a scientist's theory on the improvement of the quality of life. 5. "Productivity," a 15 min. documentary for the N.E.A. ‘ELF m" ;_J 167 WETA-TV--continued PRODUCTION TECHNIQUES: Money is saved by maintaining a small, professional staff (two in this case) and hiring freevlancers to handle projects that come in when the staff is otherwise budy. Interne student film makers from local schools are utilized on a work-study basis whenever possible. PRODUCTION EQUIPMENT: 2- Arriflex BL‘S Arriflex s Nagra III and IV Bell & Howell Filmo Cannon Scoopic 4- Quartz light kits Steenbeck editing table a" tape to 16 mm mag transfer Editing room, interlock projectors, etc. . "' .‘L ‘1 ‘ . ~ ..- l"."l\‘.“ “.7." WFYI-TV CHANNEL 20 1440 NORTH MERIDIAN STREET INDIANAPOLIS, INDIANA 46202 O 0 O c Q I O OmflmU'lnwaI-J F‘ h‘ H k) F‘ o 168 H w l4. CLASSIFICATION COMMUNITY STATION PERSONNEL 11—15 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC. PROD. NO 2::E::::gd::::fbed on the REASON #5 "NO" 1 FREQ. #5 PRESEN. AVG. TIME #5 MIN./WK. LOCAL FILM AIRED 7 MIN. FORM OF FIN. FILM INCLUDING EEESD’ PROG' * TYPE OF SYNC' SND' ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 OF FILM DEPARTMENT x PROMOTION OF #5 PROGRAM CONTENT GUIDELINES NA FILM PERSONNEL ORGANIZED RESEARCH NA NEWSCAST PRODUCED NO REACTION SURVEYS NA 15. FREQ, OF NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS l7. CONTENT OF " PRODUCTION TECHNIQUES 18. FILM PRODo FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: 21. UNIV. TR DEPT. SEE FOLLOWING PAGE 22. FILM STUDENTS IN PTV FILM PROD? 23. PTV INTERNSHIP PTV STAFF TEACH 25. PTV STAFF SERVE INSTR. MEDIA 169 WFYI-TV—-continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: 29:00 Weekly (2% film open) "Goin' Back to Indiana" Deals with travel and tourism. 29:00 Weekly (20% film content) "Reach Out" Deals with community services examination. ORGANIZATION OF FILM DEPARTMENT: Production staff consists of three producer-directors who write, shoot and edit their own material. RECENT FILM PRODUCTION CONTRACTS: The most recent "contract film" produced by WFYI was a 29 minute feature showing a sampling of Community Service Programs operating in Indianapolis. Funded by the Community Services Program this film was strictly for internal use and was never aired. PRODUCTION TECHNIQUES: Transfer film-to-tape and edit video tape. Valuable when editing double—system and you do not have an interlock projector. PRODUCTION EQUIPMENT: l - Bell & Howell 240 camera 1 - Griswold splicer All other equipment is rented as needed due to lack of capital. 170 WILW-TV LONG ISLAND EDUCATIONAL TELEVISION COUNCIL, INC. ELLINGTON AVENUE, WEST GARDEN CITY, NEW YORK 11530 1. CLASSIFICATION COMMUNITY 2. STATION PERSONNEL 15—25 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()<) indicates 5. DOC./SPEC. PROD. YES 2::igsiigd::;:fbed on the 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. 4 MO.INT. 8. AVG. TIME #5 30 MIN. MIN°/WK' LOCAL FILM AIRED Y . PR . 9. FORM OF FIN. FILM 2 ISSEUDING ggfifin 0G 10. TYPE OF SYNC. SND. SINGLE SYS ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 1 OF FILM DEPARTMENT x 12. PROMOTION OF #5 NEWSPAPER PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL 1 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS 15. FREQ. OF NEWSCAST DAILY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN. CONTRACTS 17. CONTENT OF " LOCAL PRODUCTION TECHNIQUES 18. FILM PROD. FOR " YES PRODUCTION EQQIPMENT 19. MIN. FILM IN " 30-60 20. NEWSFILM MEN PROD. ADDITIONAL NOTES= OTHER FILM? YES 21. UNIV. TR DEPT. ORGANIZATION: Team consists of cameraman, audio man, and producer- director or field correspondent. 22. FILM STUDENTS IN PTV FILM PROD? L 23. PTV INTERNSHIP 24. PTV STAFF TEACH 25. PTV STAFF SERVE INSTR. MEDIA 171 WITF-TV CHANNEL 33 HERSHEY, PA. 17033 1. CLASSIFICATION COMMUNITY 20 STATION PERSONNEL 25-40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()<) indicates 5. DOC./SPEC. PROD. YES responée described on the follow1ng page. 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. QUARTERLY 8. AVG° TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 9. FORM OF FIN. FILM RELEASE REGULARLY SCHED. PROG. 10. TYPE OF SYNC. SND. DOUBLE SYS INCLUDING FILM ORGANIZATION & STRUCTURE . P 11 USE OF SCRI TS #5 3 OF FILM DEPARTMENT . M 12 PRO OTION OF #5 NEWSPAPER PROGRAM CONTENT GUIDELINES * . F 13 ILM PERSONNEL 2 ORGANIZED RESEARCH 14. NEWSCAST PRODUCED NO REACTION SURVEYS + O F ’J 15 REQ OF NEWSCAST RECENT FILM PRODUCTION 16. TIME OF NEWSCAST CONTRACTS XX 17. CONTENT OF " PRODUCTION TECHNIQUES 18. FILM PROD. FOR " PRODUCTION EQUIPMENT 19. MIN. FILM IN " 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? * Station "rarely has the opportunity 21' UNIV' TR DEPT' to select material; most films done 22. FILM STUDENTS IN on a contract basis with the grantor PTV FILM PROD.? selecting subject matter." 0 + I I l 23 PTV INTERNSHIP "... unsolic1ted letters, reaction 24. PTV STAFF TEACH line telephone service." 25. PTV STAFF SERVE INSTR. MEDIA SEE FOLLOWING PAGE 172 WITF-TV-—continued RECENT PRODUCTION CONTRACTS: Most recent production contract work concerns the Pennsylvania Department of Education. Project includes prOQ ducing eight 30 min. programs for high school guidance work. Selected areas include auto mechanics, machine shop, body repair, and welding. Films are contracted for approximately $17,000.00 apiece. Writers/producers have control of content and style with the P. D. E. having the right of rejection over any segment. PRODUCTION TECHNIQUES: To reduce several areas of cost this station is moving toward smaller, lighter film equipment, the use of crystal sync (to reduce crew size), and a smaller location truck. WJCT-TV 2037 MAIN JACKSONVILLE, FLORIDA 32206 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18° 19. 20. 21. 22. 23. 24. 25. 173 CLASSIFICATION COMMUNITY STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check (>() indicates DOC./SPEC. PROD. YES ;::§::::gd::;:fbed on the REASON #5 "NO" N/A FREQ. #5 PRESEN. MONTHLY AVO‘ TIME #5 1'2’3 MIN./WK. LOCAL FILM AIRED 150 MIN FORM OF FIN’ FILM 2’3 REGULARLY SCHED. PROG. TYPE OF SYNC. SND. SINGLE SYS. INCLUDING FILM * USE OF SCRIPTS #5 1,2,3 ORGANIZATION & STRUCTURE PROMOTION OF #5 2,4,5 OF FILM DEPARTMENT X FILM PERSONNEL 1 to 4 PROGRAM CONTENT GUIDELINES x NEWSCAST PRODUCED ++ ORGANIZED RESEARCH X FREQ. OF NEWSCAST REACTION SURVEYS x TIME 0. NEWSCAST ggggggcggLM PRODUCTION X CONTENT OF " PRODUCTION TECHNIQUES FILM PROD° FOR " PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. ++ Nightly public affairs program FILM STUDENTS IN PTV FILM PROD.? with film. 60:00 program with average -0 min. film. "Feedback" PTV INTERNSHIP * Various instructional programs with PTV STAFF TEACH film content of 10 to 100% plus PTV STAFF SERVE INSTR. MEDIA above (++) notation. SEE FOLLOWING PAGE 174 WJCT-TV--continued ORGANIZATION OF FILM DEPARTMENT: Personnel consist of one full-time cinematographer and two producers who shoot and edit primarily for ITV. Also five "do-it-all types" in the PTV end who service the "Feedback" series and various special projects. PROGRAM GUIDELINES: Filmed programs are reserved for topics that are not readily producable on video tape. Program content is "... whatever suits the topics of daily concern ... long range programs follow normal journalistic procedures." RESEARCH: All programs and program segments are researched by a two-person research/reporting team as well as by the producer whenever possible. AUDIENCE REACTION: See CPB survey on "The Audience of Feedback." Newspaper and general audience reaction is based on program content rather than technique. FILM PRODUCTION CONTRACTS: Six one—minute spots for the State Drug Abuse Department, dealing with the human factor in drug education. Produced for state and national distribution. Loose contract on two- payment schedule: lst at storyboard, 2nd at interlock. These spots won first place at the Atlanta International Festival. PRODUCTION TECHNIQUES: Film to VTR as a general technique, quarter inch to mag stripe transfer after editing. PRODUCTION EQUIPMENT: 3 Auricons. BL plus much more. PLENTY! 175 WMHT-TV P. O. Box 17 SCHENECTADY, NEW YORK 12301 1. CLASSIFICATION COMMUNITY 2. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED No OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()() indicates 5. DOC./SPEC. PROD. NO response described on the follow1ng page. 6. REASON #5 "NO" 1,2,3 7. FREQ. #5 PRESEN. M O C F 8. AVG. TIME #5 IN /WK LOCAL ILM AIRED V REGULARLY SCHED. PROG. O F O 9 ORM OF FIN FILM INCLUDING FILM 10' TYPE OF SYNC. SND. ORGANIZATION & STRUCTURE 11. USE OF SCRIPTS #5 OF FILM DEPARTMENT 12. PROMOTION OF #5 PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL ORGANIZED RESEARCH 14. NEWSCAST PRODUCED YES REACTION SURVEYS 15. FREQ?o OF NEWSCAST DAILY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 Min. CONTRACTS P 170 CONTENT OF " LOCAL RODUCTION TECHNIQUES 18. FILM PROD. FOR " NO PRODUCTION EQUIPMENT 19. MIN. FILM IN " NONE 20. NEWSFILM MEN PROD. NO N. F. ADDITIONAL NOTES: OTHER FILM?. PRODUCED NOTE: Comment, "We have de-activated our film unit and gone to 1" color 21. IV. DEP . . . UN TR T Videotape for "Film type" use. Other 22. FILM STUDENTS IN projects and contracts that require PTV FILM PROD.? film as a final product are produced 239 PTV INTERNSHIP on Videotape, and a tape (quad) to film transfer made. . P . 24 TV STAFF TEACH Signed: Jack A. Walters, 25. PTV STAFF SERVE producer/director INSTR. MEDIA NO FURTHER INFORMATION SUPPLIED WNED-TV 184 BARTON STREET BUFFALO, C O mmflmmbUNi-J ( F‘ F‘ H k) F‘ o 130 14. 15° l6. 17. 18. 19. 20. 21. 22. 23. 24. 25. NEW YORK 14213 176 CLASSIFICATION COMMUNITY STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO FILM PRODUCED YES OPEN—END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC° PROD. YES Egifizgiigd::;:fbed on the REASON #5 "NO" N/A FREQ. #5 PRESEN. 3/YEAR AVG. TIME #5 30 MIN. MIN./WK..LOCAL FILM AIRED 10 MIN. Y . PR . FORM OF FIN. FILM 2 IEEEUSING EEESD OG x TYPE OF SYNC. SND. DOUBLE SYS. ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 3 OF FILM DEPARTMENT PROMOTION OF #5 PUB. RADIO PROGRAM CONTENT GUIDELINES FILM PERSONNEL 3 ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS NONE FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS NONE * CONTENT OF " PRODUCTION TECHNIQUES + FILM PROD. FOR " PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. NOTE: This community operation offers a student internship program. FILM STUDENTS IN PTV FILM PROD.? * In-house film produced only. PTV INTERNSHIP + . . "Small crews dOIng many things." PTV STAFF TEACH SEE FOLLOWING PAGE PTV STAFF SERVE INSTR. MEDIA 177 WNED-TV——continued REGULARLY SCHEDULED.PROGRAMS.INCLUDING?FILM;. Weekly 30 Min. (up to 50% film)«—"Talk of the Town," Cultural affairs. ORGANIZATION OF FILM DEPARTMENT: WNED utilizes a three—man film crew filling the follow— ing functions: Cameraman, Sound man, Lighting man, Grip, and Producer—director. PROGRAM GUIDELINES: WNED notes that most film which is used within programs appears as "location interviews." In the case of documen— taries the subject matter is selected by the station with one producer overseeing the operation. Documentaries are either thirty or sixty minute presentations. USE OF RESEARCH: Research is determined by the type of project; host or hostess determines the content for interview programs, and the producer researches and writes more complicated projects. WNET—Tv 304 w. 58th STREET NEw YORK, N. Y. 10019 1. CLASSIFICATION EDUC. TV 2. STATION PERSONNEL 25—40 ADDITIONAL RESPONSE To 3. FILM PRODUCED YES OPEN'ENP QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check (>() indicates 5. DOCL/SPEC. PROD. YES :::§::::gd::;:fbed on the P} 6. REASON #5 "NO" N/A ,, 7. FREQ;_#5 PRESEN. "BInMONTHLY k“ 8. AVG. TIME #5 60 MIN. MIN./WK. LOCAL FILM AIRED 60 MIN. 9. FORM OF FIN. FILM RELEASE INSEUSING EEEED° PROG’ x I '4 10. TYPE OF SYNC. SND. DOUBLE SYS. ORGANIZATION & STRUCTURE EJ 11. USE OF SCRIPTS #5 3 OF FILM DEPARTMENT ~ 12. PROMOTION OF #5 TV GUIDE PROGRAM CONTENT GUIDELINES 13. FILM PERSONNEL 10 ORGANIZED RESEARCH * 14. NEWSCAST PRODUCED YES REACTION SURVEYS + 15° FREQ. OF NEWSCAST DAILY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN. CONTRACTS ** 17. CONTENT OF " LOCAL PRODUCTION TECHNIQUES ++ 18“ FILM PROD. FOR " YES PRODUCTION EQUIPMENT x 19. MIN. FILM IN " 6—15 MIN. ADDITIONAL NOTES: 20' NEWSFILM MEN PROD' *"Professional researchers." OTHER FILM? YES + . 21. UNIV. TR DEPT. **A' C' Nielsen' 22. FILM STUDENTS IN ++"Documentar1es for ourselves." PTV FILM PROD.? "Production manager accompanies all 23. PTV INTERNSHIP film crews’" 24. PTV STAFF TEACH, SEE FOLLOWING PAGE 25. PTV STAFF SERVE 178 INSTR . MEDIA 179 WNET-TV--continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM: Monthly 60 Min. (50% film)«—"Behind the Lines," a national public—affairs program. Weekly 30 Min. (30% film)—v"Bill Moyer's Journal," a national public-affairs program. Monthly 90 Min. (100% film)~—"Science" deals with medicine. Weekly 60 Min. (100% film)——Various documentaries. Weekly 30 Min. (25% film)-—"Consumer Help." ORGANIZATION OF FILM DEPARTMENT: r] PRODUCER DIRECTOR—WRITER (Does not shoot or edit) i a Cameraman Film Editors A} Asst. " " Asst. " " 5. Soundman H Production —- PROGRAM GUIDELINES: WNET—TV reports "... no guidelines, except that it must be interesting and informative, and possibly of public service." PRODUCTION FACILITIES: Complete laboratory with sound transfer capabilities and equipment to support 6 crews. WQLN-TV CHANNEL 54 8425 PEACH STREET ERIE, PA. 16509 \OCDQC‘U'l-bwwlfl H H I—l k) F‘ o 13. 14. 15. 16. 17. l8. 19. 20. 21. 22. 23. 24. 25. 180 CLASSIFICATION COMMUNITY STATION PERSONNEL 15-25 ADDITIONAL RESPONSE To FILM PRODUCED YES OPEN-END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()<) indicates DOC./SPEC. PROD. YES Egiizsiige::;:ebee en the REASON #5 "NO" N/A FREQ. #5 PRESEN. BI-YEARLY AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED * Y . PR . FORM OF FIN. FILM 3 EEEEEEEEG ggifie 0e x TYPE OF SYNC. SND. DOUBLE SYS. USE OF SCRIPTS #5 2 ORGANIZATION & STRUCTURE OF FILM DEPARTMENT PROMOTION OF #5 4,5,6 PROGRAM CONTENT GUIDELINES X FILM PERSONNEL 1 ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS X FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. * Impossible to average min./wk; FILM STUDENTS IN PTV FILM PROD.? station averages (roughly) three 30 min. documentaries per year. PTV INTERNSHIP PTV STAFF TEACH SEE FOLLOWING PAGE PTV STAFF SERVE INSTR. MEDIA 181 WQLN—TV—-continued PROGRAM GUIDELINES: WQLN "... searches for subject matter most applicable to national useage." For example, one documentary accepted by PBS for national viewing documented Erie's (Pa.) unique treatment center for indigentvalcoholics. Two others were local community situations which had bearing on.overall Pennsylvania scene and were accepted and funded by the Pennsylvania Public TV Network. AUDIENCE REACTION SURVEYS: No reaction surveys per s2 conducted at this time., However, as a result of the Alcoholic.documentary the.center described above received requests for.information from many cities in which the film was aired. _-' Ari-m."- m — __J' RECENT FILM PRODUCTION CONTRACTS: a WQLN is currently concluding two films for the Pennsylv vania Public Television Network (PPTN). One is a.documentav tion of citizen anti-pollution action taken against a coke (coal) producing plant, and the other traces the historical purchase of a triangle of land bounding Lake Erie for in- dustrial and recreational purposes. The state non-commercial network (PPTV), comprized of seven PTV stations in Pennsyl- vania, accepts proposals from stations for unique programs. Upon review grants for production are awarded to the produc- ing stations on a per-program basis. PRODUCTION TECHNIQUES: Most recent attempts adopted tighter scripting prac- tices which eliminate excessive shooting, NFuture plans call for recording principle characters on audio tape, selecting the pertinent segments, and then filming the selected material only in an attempt to reduce "voluminous over-shooting." PRODUCTION EQUIPMENT: Production studio, Arriflex 16 BL camer, Nagra IV L recorder, location lighting equipment (for documentaries) and Beaulieu R16 silent camera. WTTW-TV, CHANNEL 11 5400 N. CHICAGO, 1. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21° 22. 23. 24. 25. St. LOUIS AVENUE ILLINOIS 60625 182 CLASSIFICATION COMMUNITY STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE To FILM PRODUCED YES OPEN—END QUESTIONS PROG. ORIGINATED YES NOTE: Check ()() indicates DOC./SPEC. PROD. . YES :::§:3::ge::;:ebee en the REASON #5 "NO" N/A FREQ. #5 PRESEN. 2 MO. INT. AVG. TIME #5 60 MIN. MIN./WK. LOCAL FILM AIRED 60 MIN. FORM OF FIN. FILM RELEASE IESEUSING FIEED. PROG' x TYPE OF SYNC' 8ND“ DOUBLE eye' ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 1,2 OF FILM DEPARTMENT PROMOTION OF.#5. 3,5 PROGRAM CONTENT GUIDELINES FILM PERSONNEL 6 ORGANIZED RESEARCH NEWSCAST PRODUCED NO. REACTION SURVEYS x FREQ, OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES FILM PROD. FOR " PRODUCTION EQUIPMENT MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? ADDITIONAL NOTES: UNIV. TR DEPT. SEE FOLLOWING PAGE FILM STUDENTS IN PTV FILM PROD.?. PTV INTERNSHIP PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA 183 WTTW—TV——continued REGULARLY SCHEDULED PROGRAMS INCLUDING FILM; Weekly 28:30 Min. (12-18 Min. film)--"Consumer Game," Consumer issue and answer show. Bi-Weekly 58:00 Min. (4-20 Min. film)—-"Prime Time Chicago" Public affairs footage in entertainment format. Tri-annually 58:00 Min. Documentaries on Chicago cultural life. ORGANIZATION OF FILM DEPARTMENT: Producers serve to produce and direct both studio and film material using two Cinematographers, 2 editors, 1 sound man, and l grip. One of the above Cinematographers also edits. PROGRAM GUIDELINES: WTTW cites that "... materials must lend themselves to cinematic treatment, they must be relevant to our community (Chicago), they must fit into a long-range programming plan for our institution (WTTW) and they must be economically feasible. AUDIENCE REACTION SURVEYS: WTTW subscribes to the A. C. Nielsen survey. "Renoir," a half-hour study presented May, 1973 received a 5 rating and a 9 share which is equivalent to an estimated 132,000 households viewing. That was the highest rated local pro- duction, film or video tape.1 PRODUCTION TECHNIQUES TO REDUCE COST: Hiring people who know what they are doing at all (underscore theirs) levels of film production. WTTW—Is also investigating super 8 as "... a viable means to do investiga- tive and news pieces inside of VTR programs." EQUIPMENT: 6 & 4 plate Steenbecks, Nagra III & IV, Arri BL, Eclair NPR. lSurvey returned, unsigned. 184 WUHY-TV 4548 MARKET STREET PHILADELPHIA, PA. 19139 1. CLASSIFICATION COMMUNITY 2. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE To 3. FILM PRODUCED YES OPEN—END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()() indicates 5. DOC./SPEC. PROD. YES reepenee deserlbee en the follow1ng page. 1 6. REASON #5 "NO" N/A . ‘9 . 7. FREQ. #5 PRESEN. YEARLY 8. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 120 MIN 9. FORM OF FIN. FILM 2 REGULARLY SCHED. PROG. .. 10. TYPE OF SYNC. SND. 1,2 INCLUDING FILM x g ' ORGANIZATION & STRUCTURE O P 11 USE OF SCRI TS #5 2 OF FILM DEPARTMENT x . PR M TIO F 12 o e N o #5 PROGRAM CONTENT GUIDELINES NONE 13. FILM PERSONNEL 1 ORGANIZED RESEARCH NONE 14. NEWSCAST PRODUCED YES REACTION SURVEYS NONE 15. FREQ. OF NEWSCAST DAILY RECENT FILM PRODUCTION 16. TIME OF NEWSCAST 30 MIN. CONTRACTS NONE 17. CONTENT OF " STATE PRODUCTION TECHNIQUES x l8. FILM PROD. FOR " YES PRODUCTION EQUIPMENT x 19. MIN. FILM IN ‘" 6—15 MIN.. 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? YES 0 O R P Q 21 UNIV T DE T SEE FOLLOWING PAGE 22. FILM STUDENTS IN .PTv FILM PROD.? 23. PTV INTERNSHIP 24. PTV STAFF TEACH 25. PTV STAFF SERVE INSTR. MEDIA A 185 WUHY—TV——continued REGULARLY SCHEDULEDPROGRAMS‘INCLUDING’FILM:J Monthly 30 Min. (5% film)--"On the Street," Feelings of local residents. ORGANIZATION OF FILM TEAMS: Film teams normally consist of: Cameraman Director Audio man Grip (on large productions only) No further comment on multiple functions or producer- director relationships. PRODUCTION TECHNIQUES: WUHY-TV sees super 8 color production the most promising cost reduction angle. (Super 8 color they point out costs less than 16mm. black and white.) To this end they are equipping their station with a Kodak professional super 8 film chain and acquiring the necessary camera equipment and accessories. Further projections see half-inch video tape being implemented for all remote reporting news functions. PRODUCTION EQUIPMENT: Full complement for single system prbduction primarily. 186 WVIZ—TV 4300 BROOK PARK.ROAD CLEVELAND, OHIO 44134 1 . CLASSIFICATION COMMUNITY 2. STATION PERSONNEL OVER 40 ADDITIONAL RESPONSE TO 3. FILM PRODUCED YES OPEN-END QUESTIONS 4. PROG. ORIGINATED YES NOTE: Check ()() indicates 5. DOC./SPEC. PROD. YES response described on the follow1ng page. 6. REASON #5 "NO" N/A 7. FREQ. #5 PRESEN. Two/YEAR 8. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 90 MIN. REGULARLY SCHED. PROG. 9. FORM OF FIN. FILM RELEASE INCLUDING FILM x 10. TYPE OF SYNC. SND. DOUBLE SYS. ORGANIZATION & STRUCT 11. USE OF SCRIPTS #5 1 OF FILM DEPARTMENT x 12. PROMOTION OF #5 NO PROGRAM CONTENT GUIDELINES x 13. FILM PERSONNEL 7 ORGANIZED RESEARCH x 14. NEWSCAST PRODUCED YES REACTION SURVEYS x 15. FREQ. OF NEWSCAST WEEKLY RECENT FILM PRODUCTION + 16. TIME OF NEWSCAST 14:30 CONTRACTS PROD ION TE H I S 17. CONTENT OF " 1,2,3,INT. UCT e N QUE l8. FILM PROD. FOR " NO. PRODUCTION EQUIPMENT 19. MIN. FILM IN " * 20. NEWSFILM MEN PROD. ADDITIONAL NOTES: OTHER FILM? + 21. UNIV. TR DEPT. AnalySIS for Schools * 22. FILM STUDENTS IN 1-5 min. borrowed from local PTV FILM PROD.? commercial station. 23' PTV INTERNSHIP SEE ADDITIONAL PAGE 24. PTV STAFF TEACH 25. PTV STAFF SERVE INSTR. MEDIA 187 WVIZ—TV—-continued REGULARLY SCHEDULED PROGRAMS.INCLUDING FILM: . Weekly (10-20 Min.) 100% film—-"Consumer Concerns," secon« dary series dealing with economy and wise spending practices. 2 Week int. (Sixteen 20 Min. programs) 60—80% films—"Tuned In," secondary school series about current social con— ditions, housing, violence. Weekly (Eight 15 Min. programs) 100% film-—"Media Machine,u secondary school series; examines media operations and jobs, e.g., news programs production, radio and news— paper operation, film. Weekly (Eight 15 Min. shows) 50% film——"Telewave," primary school series; explores new methods of studying and motivation. Weekly (Six 39 Min. programs) 100% film--"Improving Learn— ing," teacher training series; dramatizes classroom Situations and methods of dealing with behavior prob— lems. 2 Week int. (Sixteen 20 Min. programs) 10-30% film—— "Truly American" primary school series; condenses high— lights and achievements of famous Americans (20th century). STRUCTURE OF FILM DEPARTMENT: Four producer-directors who function in their title positions on the majority of film assignments in addition to operating audio when film crew is short. Three cinematog- raphers who also alternate as audio men and film editors for double and Single system sound. PROGRAM GUIDELINES: Most film is Shot for inclusion in on—going television series. Subjects and approach are largely determined by the purpose of the series. Film is used extensively for 188 WVIZ—TV——continued "field trips by television," for school audiences ranging from the second to the.twelfth grade. Adult documentaries are limited to funds available from the government and foundations and so are few in number. USE OF ORGANIZED RESEARCH: Teacher feedback is utilized both during and after the production of a series. The former takes the form.of an. evaluation committee which meets periodically with.the production team to critique the showsr.and the latter is a wide-spread computerescored evaluation.in.whichelarge numbers of teachers rate the series on about two«dozen factors in production, educational value, and child reaction. . Ann]. .II- .mfia J! ‘ AUDIENCE REACTION SURVEYS: é Two most recent efforts (33 shows, each 15 min.) have proven very popular and are in national circulation. FILM PRODUCTION CONTRACTS: Most recent of this nature was a NIT contract for the production of six programs for their "Inside/Out" series. This series is a mental health project and consisted of thirty films designed to promote discussion on a wide range of topics ranging from dealing with the practical joker to death and divorce. Of the thirty nearly all were sync-sound dramas. There were two documentary programs and one low- cost animation. Contract provided for script approval and work print approval. PRODUCTION TECHNIQUES: Most film is mixed on tape to reduce final printing costs. Much of the film is mag stripe sound to provide presence when additional narrator is used. Most filming is done by two or three people. WVPT—TV PORT REPUBLIC ROAD HARRISONBURG, VIRGINIA 22801 17. 18. 19. 20. 21. 22. 23. 24. 25. 189 CLASSIFICATION COMMUNITY STATION PERSONNEL 25—40 ADDITIONAL RESPONSE.TO. FILM PRODUCED SUPER 8 OPENFENI QUESTIONS PROG. ORIGINATED YES NOTE: Check.()<) indicates DOC./SPEC. PROD. YES resPon?e descr“ ‘on follow1ng page. REASON #5 "NO" N/A FREQ, #5 PRESEN. 2 MO. INT. AVG. TIME #5 30 MIN. MIN./WK. LOCAL FILM AIRED 10 MIN. FORM OF FIN. FILM 2‘ REGULARLY SCHED. PROG. INCLUDING FILM x TYPE OF SYNC. SND. DOUBLE.SYS. ORGANIZATION & STRUCTURE USE OF SCRIPTS #5 1 OF FILM DEPARTMENT x PROMOTION OF #5 NEWSPAPER PROGRAM CONTENT GUIDELINES * FILM PERSONNEL 2 ORGANIZED RESEARCH NEWSCAST PRODUCED NO REACTION SURVEYS NONE FREQ. OF NEWSCAST RECENT FILM PRODUCTION TIME OF NEWSCAST CONTRACTS CONTENT OF " PRODUCTION TECHNIQUES PRODUCTION EQUIPMENT xx FILM PROD. FOR " MIN. FILM IN " NEWSFILM MEN PROD. OTHER FILM? UNIV. TR DEPT. FILM STUDENTS IN PTV FILM PROD.? PTV INTERNSHIRL PTV STAFF TEACH PTV STAFF SERVE INSTR. MEDIA ADDITIONAL NOTES: * SEE FOLLOWING PAGE + . "Producer-director researches topic before making program com- mitment." fl 190 WVPT-TV--continued REGULARLY SCHEDULED PROGRAMS CONTAINING FILM: Monthly 30 Min. (95% film)--poultry program. Bi-Weekly 20 Min. (100% film)-—environmental education. ORGANIZATION OF FILM DEPARTMENT: Two full time film personnel perform all phases of pro- duction: writing, shooting, producing, editing, video tape transfer, etc. PROGRAM GUIDELINES: Program guidelines consist of selecting "... community- oriented programming for which (the station) can obtain underwriting." RECENT FILM CONTRACTS} "Title III," six half-hour programs produced on super 8 for the Virginia Board of Education. "Ever Since Henry Ford," one half-hour program on super 8 produced for the Skyline Chapter of the Model A Ford Club. No further details on eIther production were provided by WVPT. PRODUCTION TECHNIQUES AND EQUIPMENT: Super 8 film production is WVPT's answer to cost reduc- tion, and their equipment is geared to this end. Equipment includes two super 8 cameras with double sys- tem sync capability and the minimum accompanying gear for film production including, of course, a super 8 film chain. M717%?erflfijlflfyfijilillfljlllfiflmfl”