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Yeah, yeah. Welcome to another territories, Ladies and gentlemen, the k p X roving camera program. Well, this Friday night, we have something different and we think, perhaps entertaining. We're actually going behind the scenes of our own little television station here. And it's not so little, actually,

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we're going to take you hear high atop Nob Hill and the Mark Hopkins Hotel where we're located and let you meet some of the people who helped bring these programs to you. We'll try to let you see in person some of the people who do all

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the work that presents are signal to you on Channel five. Let's just wander around. Actually, a rehearsal is in progress, and we've just sort of eavesdrop wasn't over here. The camera, of course, is always a specialty. We interrupt you Just a moment. Tony, can we interrupt

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just a moment? Instructions from topside? Uh huh. Yeah. All right. Tony Bomba, Ladies and gentlemen, Cameramen And what are you doing at the moment here? Lining up the camera, Sandy on a test chart before we going to any pictures. I see. We won't take your time

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then, Tony. Thanks very much. And welcome the people, I guess, are getting a big kick out of this for a change. It's something different. They see the finished product. Now they're going to see what goes behind. Hank, you bother you. Just a moment. Hank Hart. Ladies

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and gentlemen, why don't we walk up here? So you fill the screen a little better. Hank, what's your job to do? The audio on the ruby hunters show your microphones and six microphones and two turntables and several sound effects during the show. Music, Pick up your

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makeups. Hank Eckhart. Ladies and gentlemen, the sound. Here's another camera at work, Larry. We bother you. Just a second. Larry West. Ladies and gentlemen, Larry cameramen, Tell me what you're doing. You were doing something different. I'm signing up this camera. Two of them just starting were

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lining up the the spots on it just to get the current properly in line in order to get the camera working and its proper working order. Do you do this before every show? Like Oh, yes. This has to be well, not. It has to be checked

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before each program, but principally just when we're starting up and when the cameras are warming up. Fine. Thanks, Larry. Let you go back to work. Here's role, Didrikson. Ladies and gentlemen, roles we caught running between here and the transmitter. What's your job? Specifically, role. I'm working

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at the picture factory way at the top of the building. The place where all the signals are sent from are not in the studio here, but actually through the air by way of each other waves. And of course, those waves are picked up by your television

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set at home. So there's quite a crew of fellas up at the transmitter who are saying that all these programs go out on the air with the proper quality and, uh, right picture definition and the best sound possible, uh, so that we can present the programs

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as you would like to see them at home. Fine role. We'll take you up there shortly. Ladies and gentlemen, let you see with the transmitter itself. Looks like al al town. Thanks. Role out of town. Ladies and gentlemen, the chief engineer for the Associated Broadcasters incorporated.

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Al's job is building the equipment, saying that runs ordering parts and what else? Just about every sales job of coordination. The fellows come to me and say, we need this tube. We need that tube. And I have to see that we have cameras operating properly and

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enough man technicians to handle it. Cover all bases, so to speak. Plus a lot of research and technical improvisation. You have to do an occasion, do some development work and try to cut a few corners and make a few gadgets here and there. Except my work

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a little better. Wow. Thanks very much, Al. Okay, we talk to you a moment. It's well, we pulled k down, actually. Ladies and gentlemen, let's wander over here a little bit. This is came over a hill who handles promotion publicity. And she's the gal that you

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can hit in case the newspaper listing is not correct. What's the story on that? Sometimes the paper says at a certain time, 9 15 Tele tours. Sometimes it isn't there. What's the story? Well, I don't know, actually. I mean, I don't stand over them and watch

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them printed, but sometimes there can be a mistake. Sometimes you might have a last minute change or something like that. And the paper has gone to press already. And the information doesn't get to him in time. That's right. Thanks, Gay. Don't bother. There's a lot of

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activity going on as well. Catch one more man here if we want her back here. Excuse me, Jim, can we bother you? Just a second. Well, Jamaicans, ladies and gentlemen, one of our producers. Director writer. What else? You actor? Of course. For your appearance on several

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shows here. Just what do you do, Jim? On rehearsals Say, Well, this is an excellent example of the rehearsal. We have this large with all this confusion, ladies and gentlemen, someone pulled the plug out. We went off the air temporarily. We're back on. It just shows

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you what can happen. Jimmy. In the meanwhile while we're putting the plug back in vanished somewhere. So now we'll try to catch Forrester, Master, if he's about his Forrester around at the moment, he's not hidden behind this mess here. His Forrester out there just just went

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up to control room. Pat, We talked to you a moment. Swell. Yeah. Hi. Pat Lam is my little secretary and she gets all the complaints, The bouquets. We have to worry about what goes on the program logs and so forth. What else do you do? You

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carry around Mistletoe Holiday. So wonderful. What's the idea of carrying it? Oh, you don't know how Well, we'll go upstairs to the transmitter now we're floating higher and higher. So let's go to the transmitter before we go up to the transfer of ladies and gentlemen, we

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thought you'd want to see what goes on. Just a second, more unexpected group came into the studio here Away Group who are rehearsing Christmas songs. Let's listen a moment. Har Lean. Just don't run away while they're rehearsing back there. We want

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you to tell the people watching us now on territories this Friday night just about yourself. Arlene handles the film. Ladies and gentlemen are some of the problems involved. All right, now it's the Christmas rush, Sandy. Getting it in on time to make an evening show. That's

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about the only problem that ever comes out. Our newsreels and the television recordings from the Columbia Network in New York have to being on time for you to see exactly, which presents quite a problem. You folks out there to always see Godfrey on time always see

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the newsreel while it's still news. That's my little worry. Thanks very much, Charlie. And now we will go to the transmitter. Now, we've landed up in the transmitter as we promised you. And here, ladies and gentlemen, is Mr Phillips Lasky, Vice president and general manager of

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The Associated Broad Casters Incorporated. Hello, Sandy. You caught me here in the corner of the K Pax transmitter room on top of the march. This is an unusual one, we hope for the ladies and gentlemen watching tonight. It's behind the scenes. Tell a tour in keeping

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with the holiday spirit where they can actually meet the people who put the picture on their screen. I think it's a good idea to I believe, that people would be interested in in the telephone. I'm glad you're able to do it. There's a lot to see

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up here, and I'm not going to take too much time. I do want to take the opportunity, however, as long as you've got me here on the mic and the camera to wish all of the friends of K p X out there on in Northern California

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in their living rooms. The best wishes of the season of this holiday season from the entire staff and management of Tapia. You know, no job is a one man job. This is a television. As a result of the combined efforts of all of our staff, our

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technicians and program people like you and those fellas behind the cameras. It's been a very interesting year. We're coming to the end of our first year television in San Francisco, and we're very thankful for the response and interest shown by the public. And it's a sincere

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and genuine Merry Christmas and a happy New Year We extend to them. Thanks, Sandy, for the opera. Thank you very much, sir. We certainly appreciate having you here. We're gonna run back to my work. All right? We'll crawl over here. We want to talk to Dave

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Keys. Dave, this is the master control up here. And just what is your job specifically? What do you have to look for you? Well, Sandy, this is where the transmitter is controlled. And all this panel tells us what's going on in the transmitter itself. For instance,

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I don't suppose the camera can see it, but this is the picture that we're putting out now, and this is the cathode ray scope that shows us the wave form of what's going on. Well, we'll explain it just a second. We have a screen here, just

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like you have on your set just before we sign on and in the afternoon. A test pattern. But in addition, there's an oscilloscope. The lighting here makes it hard for you to see it. Usually the boys work in a semi dark room here, don't you? That's

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right. We're just like more. Uh, and of course, they watch the height with fourth of the electronic role of buttons on this side, Sandy, that we can punch up to show any one of the various test patterns and wave forms so we can adjust the transmitter

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from start to finish. We might explain that just before we came up here, you saw our studio 11 down below us at the bottom of the Mark Hopkins Hotel. Right now we're high atop the mark. This room here is above the market bar, and we're right

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where the roof, as you can see outside, comes together. You know that people see the spires on the hotel. Well, this is above it, and that's about the 21st floor. I guess that's right. And the transmitter is right in front of us here. So the man

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that it operates, the transmitter can see all the dials and all the lights that are necessary to keep running. And right above us, then, is the antenna, which you can see on top of them. Are people watching out there can see it. Thanks very much. You

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got work to do? We don't want to take too much time. We're going to lean right over here. Just a second roll is going whom you met downstairs. And then he's going to just explain a little about cheating. You know, as the picture goes on the

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air, a man constantly works at it. And just what is the role that has to be done here? Well, well, Sandy, this equipment is used for running our motion picture film. Uh, of the many shows that we presume over kpi X and all the motion picture

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film is taken under different light conditions. And for that reason, in order to have a signal that is presentable to the receivers, we have to have a man who will shade the picture and, uh We have several controls on this console, 15 altogether. And so one

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man sits here constantly shading the picture to make sure that it has the proper quality and so that the viewers will enjoy the best possible picture. Well, that's generally Paul Williams, isn't it? That's right. And he actually has to become a specialist at that particular thing.

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Yes, this is a specialist job in television. That's something else that possibly a lot of you ladies and gentlemen didn't know about. But there are a lot of odd jobs in this business now. Paul Williams becoming a specialist has to have what combination. Besides being an

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engineer, you have to have a certain artistic ability, doesn't he has made the picture light and dark and fitting the mood or whatever. We might have to be able to analyze the picture very quickly, particularly with an artistic quality and shaded properly for dark scenes or

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like scenes. And he is the one that interprets the picture and presents it in the best possible man. Thanks a lot. Role say, Do you think you could ring for Charlie Mentor back in the back room there, which you can't see at the moment. But if

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we can get him in the bell, that role stepped on. Notifies Charlie of any sense of soundproof back there. Charlie, can I talk to justice, Charlie? Menses are man who handles all the programs that endoscopes the video recordings and so forth. This is the man that

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puts the programs together on the film. Charlie. Just what is the job consist of? What do you do? You put all the commercials together and all these programs? That's correct. Did I answer it? You're dead. You pretty well told the story. Is it a matter of

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editing film a lot And what it has to be edited, patched, put together according to the evening show. First of all, we take the evening's log, make it up by the evening. Uh, then the shows are edited, made up, the commercials inserted and so forth. Well,

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thanks very much, Charlie, for talking to us. And one more. Gentlemen, we'd like you to meet Tony. Can we see? I think I'll move around there, Tony B a little easier while they're watching. You ducked my head and let's find out what you do here. Exactly.

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Well, this is the entire audio console, Sandy and everything that goes on the air as its audio. And also a portion of the video goes through this little box here, and, uh, studios from the program. Come here. Uh, pardon me. Programs from the studio comes through

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here. All the projection audio. Also, both cameras are switched at these two points here. And those projectors, I should say, cameras, projectors, and, uh, they're started and, uh, the little, like show you when they're ready. And also slide projectors such as the people see the station

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identifications. That's also turned up here and everything like that. And it's just about the hottest job up here, I think keeps you busy. It keeps you busy. Plus putting some audio behind. Well, we have two turntables behind us here, too. And the music and so forth

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that you hear during your test pattern. And, uh, any other audio that has to be put out over the air. Tony is the man. Thanks a lot. That's right. I noticed Bill Hayward. Who's up here? Bill, would you come over here? Bill is the man behind

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the newsreel that you hear on our station every night at 10 minutes to wait and just before sign off time Bill has a very melodious voice. Well, thank you Sunday and build you explain just a bit about the difference between reading, say, news on radio. Which,

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of course, is your past experience and narrating a newsreel for television. Yes, well, Sandy, of course, in doing news for radio, there's no picture to contend with it all. But in doing news for television doing the narrative for the background of the Tele News I we

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have to run the film through first so I can see the film from our little projection room in there. And then I watched the film on the screen and try to time the narrative to the film. In other words, down one side of my script there's

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a, um, a list of the scenes coming up and on the right side is the narrative. So I just watched for a particular scene described by a particular narration. And as soon as that scene comes up, whether I read the narration thanks. Actually, it's very simple.

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It's quite complicated and simple. Thank you very much. Well, thank you for letting us into your homes tonight. Once again. And, of course, next Friday night at 9 15. Another Tele Tours and on behalf of the staff and management, all the fellows and girls you've met

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here at K P i X. We wish you the very best Merry Christmas is and a very Happy New Year from San Francisco's Pioneer television station. Goodnight, all.