ABSTRACT
The advent of color brought a new magic to television programming along with new problems and a need for larger budgets—especially in the all-important public service area where the “stage” offers the challenge and where remote originations and film are involved. Color has great appeal for the public service program producer as well as for the public. Color television multiplies the impact of anything he does, and—in exactly the same way—it multiplies his problems. Public service “specials” and documentaries captured on color film offer more promise for the future than any other type of television programming today. This type of program is not only gaining in importance, but is commanding more and more of our prime-time periods. Under the most ideal circumstances, a public service “special” or documentary filmed in color must of economic necessity be produced on a limited budget—"limited" by the standards of Hollywood and the large film production companies.
