In order to explain the function of Alpha I must go over as simply as possible the development of Commercial Television in the Midlands.

The I.T.A. really stands for the Independent Television Authority, which is responsible to the Government for controlling the whole of commercial television. One of the I.T.A.’s main functions is to see that commercial television is operated in accordance with the Television Act of 1954.

Let us now confine our thoughts to the Midland Region. Two contracts were issued by the I.T.A. to allow commercial television broadcasting over seven days each week in this area. The first contract was to Associated TeleVision Limited (A.T.V.) to transmit programmes from Mondays to Fridays inclusive; the second to A.B.C. Television Limited (A.B.C.), for a similar operation on Saturdays and Sundays.

When these contracts were issued in late 1955, there was very little time to find, organise and equip studios to meet an opening date for the Midland Transmitter at Lichfield already set for February 17th, 1956. Both A.B.C. and A.T.V. therefore commenced their activities in the Midlands by searching independently for suitable premises from which to operate. It became abundantly clear that time and effort would be saved if the two companies operated on a joint basis, looking for one suitable site obviously being easier than looking for two and bearing in mind that A.B.C.’s two days of operation would not cut across A.T.V.’s five days and vice versa. Thus was born an idea for a joint company to supply studios, equipment, offices and staff capable of transmitting television programmes throughout seven days a week on behalf of the two Parent Companies. Time has proved that this thinking was not only practical but most successful. The name of the Company chosen was Alpha Television Services (Birmingham) Limited.

Alpha is best described as a Production factory, making television shows to the specifications of A.B.C. and A.T.V. producers. As soon as a producer has decided upon his format for any given show, the scenic designers, wardrobe, property and technical departments such as cameras, sound, lighting engineers etc., all go to work in their respective fields, to produce the necessary requirements called for. All this work is assembled in the studios, and ancillary areas on the day of transmission or, in the case of a large production, the day before, where, like a jig-saw puzzle, all the pieces are assembled to put before you a completed picture at the times advertised in your Television Times.

That, Ladies and Gentlemen, is the answer to ‘What is Alpha?’

How television reaches your home

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Normally this will be several weeks before the proposed transmission date, and the final success of the programme will to a large extent depend, in the ensuing period, on the Director’s precise programme requirements being passed on accurately and in good time to the Alpha staff concerned. As some Directors are based in London, and therefore, to make sure that no information goes astray, it is all sent to Alpha’s Production Office, the focal point if you like, and then channelled off to the specialised production departments, namely Design, Cameras, Lighting, Floor Managers, Sound, Scenes, Property Department, Wardrobe and Make-up.

To illustrate how Alpha’s production services play their part let us consider as an example, a play that is to be transmitted from these Studios.

Firstly, an Alpha Designer, after having read the script and discussed details with the Director, sets about designing scenery for the programme. In doing this he attempts to create the illusion of reality and to add impact to the story being told. Television being basically a technical medium, however, he has to take into account in his creative work the part that cameras, microphone booms and lighting will finally play, and also the physical limitations of the studio itself. He will, therefore, liaise closely with Lighting, Sound and Camera Specialists during this phase.

When design drawings have been completed, they are passed on to the Alpha Scenery Construction Unit, where skilled carpenters, painters and scenic artists immediately go to work.

As soon as scenery construction is under way the Designer and the Director will be thinking about Property requirements for the programme, the final list being passed on to the Property Master/Buyer, whose job it is to hire, buy or borrow with the greatest possible speed anything from an elephant to an ‘L’ plate.

The Director by now will be rehearsing his artistes at an outside rehearsal room, and at the same time working out on a studio floor plan the position and moves for cameras and microphone booms.

When he has a clear idea of his plan of action, a planning meeting is arranged with senior lighting, sound and camera technicians from Alpha. The purpose of this meeting is to iron out any snags that may have been overlooked, and to generally brief the Alpha personnel, so enabling them to deploy their equipment and crew in the most efficient way.

As the day of transmission draws near, final requirements for the programme become known and this information is again passed on via the Production Office to the departments concerned. It will include for example Wardrobe, Make-up, Caption, Dressing Room and Electronic requirements, final arrangements for camera rehearsal and feeding arrangements for the crews and cast, plus a host of what the layman may consider to be unimportant details but which, in fact, are a vital contribution to a polished television programme.

On the morning of transmission, and as a result of this careful pre-planning, the Scene Master and Property Master and their staffs have transformed the studio into an authentic setting for the play. Cameras,, microphone booms and lamps are roughly in position, and crews are standing by for the Director from the Control Room to give his first instructions for camera rehearsal.

At the end of the day and after a final full dress rehearsal everyone in the Production Team will be tuned to concert pitch, and waiting for the moment of no return when the red light goes on and they are ‘on the air.’

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Joan Palmer provides ATV’s last ever announcement from the Aston studios, mentioning her predecessors, and hands over to Mike Prince in the new Paradise Centre HQ.

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If the Editor of ABC-TV NEWS should ever come to Birmingham, may I advise her to bring a large tin of ‘soothing syrup’. She will need it if she is to calm the fevered brow of upwards of half a dozen television executives, 4 lighting technicians, 1 Chief Inspector of Police, 1 Inspector, 1 Sergeant and 3 Police Constables, 1 Station Superintendent and 5 Leading Firemen, and countless bus and lorry drivers, private motorists and pedestrians.

Why? Well it all started so simply. The Editor has asked us to provide her with as much news as we can about our regional activities. We are rather proud of our new-look frontage at Aston and so we thought we would take a picture of it. Better still – let’s floodlight the building for better effect. And that’s how the trouble started.

A very co-operative Studio General Manager in the person of FRANK BEALE provided us with about a dozen assorted lights varying from pups to 5 kW and we lined them up on the pavement just outside the studio.

Splendid – now for the picture.

SNAGS . . .

But it was here where we struck snag number one. The audience and fans who clamour round our studios every Sunday evening for ‘Thank Your Lucky Stars’ began to get tangled up in the lighting cables and stands. So, we moved all the lighting equipment to the opposite side of the road.

Splendid – now for the picture.

But what about the cable bringing the power to the lights? Won’t that get damaged by the stream of traffic running over it? And that’s where the Fire Brigade was called in – they brought with them the wooden ramps which they use to safeguard their hoses.

Splendid – now for the picture.

With camera poised, our photographer WILLOUGHBY GULLACHSEN was just about to operate his shutter when the traffic began to pile up and his view was blocked completely by a street of double-decker buses.

Out went an emergency call and soon our friends from the local Police Station came along to sort out the traffic chaos.

Well, we got our picture – and here it is below.

Mark you, our troubles didn’t end with us getting the picture. You see, the wooden ramp which the Fire Brigade brought with them was far too wide for our slim power cable, and as no natural bridge was formed, cars and lorries bumped and bounced over the ramp, losing a succession of sump covers, exhaust pipes, number plates and goodness knows what else in the process.

So, Miss Davy, don’t forget that large tin of soothing syrup when you come to see us. Oh, and by the way, will you bring a new exhaust pipe and silencer for a 1961 Vauxhall Cresta with you? You see, I too, went over the ramp a mite too quickly.

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