Premiere is the first commercially sponsored television program to broadcast in color. This program is a variety show that aired as a special presentation on June 25, 1951, on a five-city Columbia Broadcasting System (CBS) network. Its delivery was the first step in a brief and unsuccessful CBS campaign to gain public acceptance of successive field color broadcasting methods recently approved by the Federal Communications Commission (FCC) as the first color television broadcasting standard for the United States.
Video Premiere (TV program)
Competition for U.S. standard broadcasting standards
The CBS field sequential color broadcasting system is an electro-mechanical system. It transmits black and white images electronically and color and then mechanically added by placing a fast-moving transparent tricolor disk (1440 r.p.m.) in front of the television screen. This rotating Red-Green-Blue disc, when synchronized with related rotating discs in a color television camera, creates a full-color impression. The main disadvantage of the CBS system is that the transmitted video images are not "compatible" with the current black-and-white television set, which means that unless this circuit is modified they will make this video transmission as meaningless lines and graffiti (with the exception of the very rare some sets that will produce four small black-and-white images, one on each corner of the screen.)
Over the last decade a frequently debated competition has taken place to obtain official approval from the FCC for US color broadcasting methods that will meet FCC criteria for cost, quality, and convenience. The main challenger of the CBS system is a versatile electronic color system that uses a sequential point method that is being developed by Radio Corporation of America (RCA), the parent company of National Broadcasting Company (NBC). The RCA system has its own advantages because it is compatible, which means current black-and-white televisions can receive monochrome images without any adjustments or modifications. However, the color images produced on the RCA tricolor image tube have been repeatedly found unsatisfactory by the FCC.
On October 11, 1950, the FCC granted its official approval for the CBS field sequential color system and stated that commercial color broadcasting could commence on November 20, 1950. Legal objections were promptly filed by RCA and others and the resulting court case worked its way. through the courts to the US Supreme Court. On May 28, 1951 with an 8-1 vote, the Supreme Court favored the FCC, stating that commercial color programming can begin in twenty-five days. CBS announced it will begin commercial broadcasting with Premiere on Monday, June 25, 1951. This will be the start of CBS's plan to broadcast twenty hours of color per week in the fall. RCA and others are still free to continue working on competing compatible color systems.
Maps Premiere (TV program)
Preparation for color broadcast
CBS announced it will be conducting colorcast Premiere directly on a five-city CBS East Coast station network. New York City, Washington, D.C., Baltimore, Philadelphia, and Boston form a color network.
CBS plans to advance even though only a few people can actually see the event because very few color recipients are available to the public. Due to the almost total resistance of current manufacturers there is no set of colors sold in the market. In response to this, CBS recently acquired the Air King television company to produce color television sets/bilinguals. On a day that Premiere airs CBS puts a full page ad for the set on page nine of the New York Times, even though the order for $ 499.95 sets will not actually be taken. until the end of September.
CBS lined up several famous stars to participate in its opening commercial colorcast, including Arthur Godfrey and Ed Sullivan. It lists sixteen advertisers who spend nearly $ 10,000 to sponsor an hour's event. Seven advertisers reportedly spent $ 1,000 each for a sixty second announcement, and the other nine spent $ 275 on a simple display of their products.
The exercise begins on Thursday, June 21 and continues until broadcast. Directs assignments divided between CBS Executive Producer Fred Rickey, who directs entertainment, and CBS Director Frances Buss, who handles advertising. A great deal of effort was made to get the right color display, with adjustable angle of lighting and props altered and moved around. For female viewers "ordinary color TV makeup" is used, including special pink lipstick. The faces of some of the participants continued to prove problematic and Ed Sullivan was asked to wear a hat while playing golf that week due to the unattractive contrast of his very tanned face with a pallier face than the others. The intense lighting required for broadcasting makes the conditions very hot, with the temperature in the studio rising to about 120 degrees Fahrenheit (50 degrees Celsius). Fans should be turned off for being too noisy. During the rehearsal part of the studio floor is curved and the food is meant to look melted and run. The cast and crew are just as depressed. CBS Vice President Adrian Murphy said, "Now I know what it's like to be pregnant."
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Synopsis of June 25, 1951, broadcast
The five minute test pattern leads the color broadcast at 4:30 pm, EDT.
Premiere starts at 4:35 pm, EDT. It was opened by Patricia Stinnette (Patricia Stinnette) professional and original model of West Virginia which since 1946 has been employed by CBS to pose for color camera camera system test. At the time of this broadcast, she has performed over a thousand presentations and color demonstrations, earning nicknames such as "Miss CBS Color" and "Miss Color Television." During this program he will do some of his work such as pouring the contents of a bottle of beer into a glass. He presented Arthur Godfrey, the host of the first half hour, who greeted viewers with a self-deprecating satire about how "terrible" it must see his face. During the first half hour he will present some commercial products as well as strum guitar and sing "On Top of Old Smoky".
Three men then made a brief congratulation: William S. Paley, Chair of the CBS Board; Frank Stanton, President of CBS; and Wayne Coy, Chairman of the FCC. Chairman Coy discussed the timing of the FCC decision, which states that the FCC "sincerely believes that color on television is now more important than the promise of color in the future." Such promises in the past have a way of not being fulfilled. "
Next comes the Faye Emerson wearing a blue dress. During her performance, she presents several colorful paintings that have been provided by the New York Metropolitan Art Museum and by the New York Museum of Modern Art. The paintings on display range from Picasso's Girl Before a Mirror to Hopper and Renoir. He also made presentations to sponsor Pepsi-Cola and joked with the humorous Sam Levenson who expressed how happy he lives in this day and age.
In the second half hour Ed Sullivan appeared for a hosting assignment, announcing that "CBS put blood into coaxial cable." During its segment he promotes Mercury and Lincoln cars. Robert Alda and Isabel Bigley, current performers in Broadway Musicals Guys and Dolls, sang a duet (most likely the song they observed performing during practice, "You're Just in Love" by Irving Berlin from the music scene Call Me Madam .) Ed Sullivan also jokes with Bil and Cora Baird Marionettes, who put it with EY Harburg "You, Too, Can Be a Puppet" from the musical. > Flahooley .
Garry Moore is the next to appear, stating "when Dr. Stanton saw me in color he would say to himself, 'For this I go to the Supreme Court?'" During his performance Moore showcased some commercial products, including Tenderleaf tea, Duz laundry soap , Ivory and Chase soap and Sanborn coffee. He also joins Durward Kirby in a well received comedy comedy where Moore plays a pitchman who tries to show us a very useless veggie slicer.
The New York City Ballet company then performed a ballet show from Maurice Ravel's La Valse, with staging by Sol Hurok and choreography by George Balanchine.
The show is wrapped with some additional banter between Sullivan and Baird Marionettes. Archie Bleyer and his orchestra have been providing music for an hour. Other commercial products promoted during the program include Wrigley gum, Toni Home Permanent and Revlon lipstick.
Five participating CBS cities
According to a CBS press release issued for the program, Premiere comes from Studio CBS-TV 57 in New York City and is then transmitted from the studio by coaxial cable to CBS Master Control, which then sends it over the telephone circuit to local CBS transmitter for broadcasting New York City. Four other CBS affiliates participating received the show with coaxial cable. The five participating stations use their regular transmitters to send broadcast signals on the station's regular TV channels. The local television station listens to TV owners that they will be able to hear but not see the broadcast.
During broadcast days, CBS has a very limited number of color receptors. Some of them are needed in-house for the show, so only about twenty receivers are available through CBS to various public and private sites that have been set up for the event. In New York City and Washington, DC this small number is significantly coupled with many homemade units that have been previously built by fans and others to see CBS experimental color broadcasts that have occurred locally in both cities.
New York City, NY (WCBS-TV, Channel 2): ​​Eight color recipients are placed by CBS in their studio at 49 East 52nd Street. Four hundred guests, including members of the press and advertising people, were invited to watch. Although CBS did not provide the set to be seen by the general public on that day, it is estimated that there are 1000 homemade units available around the city.
Washington, DC (WTOP-TV, Channel 9): There are four CBS color recipients in the city, none available to the general public that day. A set of colors is placed in the Carlton Hotel (two blocks from the White House) to provide a personal look for government officials and members of the press and such. Three other receivers are at: WTOP-TV Studio One at Warner Building; John Hayes office, President of TV-WTOP; and Channel 9 transmitter on the 40th and Brandywine, NW. Estimated 125 homemade receivers have been constructed by fans and like to see previous experimental DC color broadcasts. Unfortunately, many of these fans can always take advantage of the fact that their recipients are using the same local power source used by WTOP-TV cameras, so there is no need to incorporate an adjustment mechanism that will detect transmitted power pulses designed to synchronize the disc disc rotation their unit with the color of the camera. But New York cameras use different power sources and the difference is enough to spin off many amateur DC discs that are out of sync with New York.
Baltimore, MD (WMAR-TV Channel 2): ​​â € <â €
Philadelphia, PA (WCAU-TV, Channel 10): Two receivers are supplied by CBS. One was set up to watch personally in the WCAU-TV auditorium. Others are allowed to be viewed publicly in the lobby of the station. Five people called to the station to report that they were one of the few who had a black-and-white TV that took four tiny monochrome images, one on each corner of the screen.
Boston, MA (WNAC-TV, Channel 7): CBS provides three color recipients. One goes to the Princess Ballroom at the Somerset Hotel to be seen personally by members of the press and others. The other two sets are placed for public viewing on the fifth floor of the Jordan Marsh Company department store, one in the Exhibition Room, and one in the Fashion Center.
Reaction to color broadcast
Apart from the challenges faced in the studio, the event went according to plan and the reaction to the broadcast was generally positive, but with some objections. The colorful look of the many objects displayed on the program proves to be quite catchy, with some writing stating that the color is better than the color of the film. Particularly interesting are the brightly labeled commercial products on display. A number of reviews say that color TV proves it can be a very attractive advertising medium.
But the almost universal observation is that the human players are not nearly as good as the product. When the players move their heads, their facial coloration varies, even washing. Other reports mention the appearance of the hair and clothing of people who sometimes weird. Improvements in lighting techniques are expected to solve this problem.
Some interviewees expressed a desire to buy a set of colors, and this again shows the problem of almost no color recipients. Indeed, many reports mention that this is a historic television show with very few witnesses. CBS estimates the number of viewers from all sources to 40,000.
If most of the public would like to watch CBS color broadcasts of any kind over the next few months, they must rely on their current black-and-white television and then install one of three devices that have just entered the market. If they only want to watch black and white broadcasts, they have to buy and install an external "adapter" that produces monochrome, but smaller, images (using only 405 rows from the standard 525 set). If they want to watch color broadcasts in color they have to buy and install a "converter", which pair the adapter with a rotating tricolor disk that glide in front of the screen (the magnifying lens is usually included.) However the converter is limited to a television screen up to about 12 inches. So those who want to keep a big black-and-white screen TV they have to buy a "companion set" (also called "slave-unit"), which is a separate unit containing a closed picture tube with a color disc, and which comes with a cable plugged into adjacent black-and-white TV circuits. For many of the ten to twelve million existing set owners, these options seem too complicated or expensive, especially if compatible colors end up making the CBS color system redundant or even obsolete.
And FCC allows work to continue on compatible colors. On Friday before Premiere's aired, Allen B. DuMont, founder of DuMont Laboratories and DuMont Television Network, contacted the FCC requesting the CBS commercial color program highlighted in the latest fixes on RCA compatible tricolor images. tube. The request was rejected, so while Premiere showed Dr. DuMont invited members of the press to the Passaic, New Jersey lab to see the color demonstrations on this enhanced RCA tube. Still images of closed-circuit colors are displayed where the look of the press looks similar in quality to CBS color broadcasts that can be viewed in separate rooms. NBC has announced that starting July 9 will begin an official experimental broadcast in color compatible with RCA City of New York, with a public demonstration of WNBT-TV broadcasts on RCA color receivers. In addition, the National Television System Committee (NTSC), which helped create the original black-and-white television broadcasting standard in 1941, has been rearranged to implement the plans of all industries that will collect shared knowledge and resources. from NTSC, RCA, General Electric and others to create a new "composite" compatible color system that is expected to prove acceptable to the FCC.
Aftermath and exit
After the premiere of Monday Premiere many of the color recipients that have been used by CBS to showcase their broadcasts are moved to various public locations such as shopping centers downtown, part of CBS's strategy to deliver color broadcasts as much public exposure as possible. That week saw the debut of two half-hour color series from Monday to Friday. On Tuesday at 4:30 pm The world is yours starts its run. On Wednesday at 10:30 am, Rumah-Ibu Rumah Modern begins. In the weeks that followed, CBS expanded its color broadcasting to the Midwest and began adding more color programs, including a series of soccer matches on Saturday.
On September 28, 1951, an advertisement for the New York Times announced that an order would now be taken for CBS-Columbia color combination/b & amp; w TV first advertised the day when Premiere aired three months earlier. Color impressions during these months remain small and most advertisers stay away. Then on October 19, 1951, US defense driver Charles E. Wilson, head of the Office of Defense Mobilization (ODM), sent a letter to CBS president Frank Stanton requesting the suspension of a set of colors, stating that increased requirements for Korean Emergency were more important than developing new products but not important. CBS immediately obeyed and went further by ending all broadcasting the next day after airing a North Carolina-Maryland college football game. This sudden stoppage caused Dr. DuMont and others claim that CBS has found a way to save face to get out of a cursed business.
The NPA Order M-90, a regulation issued in 1951 by the National Production Authority (NPA) officially discontinuing the production of color television, was repealed in March 1953. But at that time CBS stated that they were no longer interested in continuing the sequential color system field. On December 17, 1953, the new "dot-sequential" dot-sequential "color" broadcasting method developed through the Second NTSC was officially approved by the FCC in lieu of the US standard color television system.
References
Source of the article : Wikipedia
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