CENTRALIZATION OF AGENCY TELEVISION ACTIVITIES

• Document Type: CREST
• Collection: General CIA Records
• Document Number (FOIA) /ESDN (CREST): CIA-RDP88G00186R000700830016-1
• Release Decision: RIPPUB
• Original Classification: C
• Document Page Count: 15
• Document Creation Date: December 22, 2016
• Document Release Date: June 13, 2011
• Sequence Number: 16
• Publication Date: March 8, 1985
• Content Type: MEMO

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DDA 85-0778/1
8 March 1985
MEMORANDUM FOR: Director of Logistics
FROM: Harry E. Fitzwater
Deputy Director for Administration
SUBJECT:
Centralization of Agency Television Activities
REFERENCE: D/OL Memo, dtd 1 Mar 85, same subject
d
1. This subject has been with us for discussion and massaging even before
Hank Knoche. Even though it has received considerable attention, little was
ever done to make it work. I am surprised that Commo initiated the draft
since they were always against the idea.)
2. As you know,) tare doing an IG inspection of
television activities so we may find ourselves being directed to take some
type of action. F-1
3. I think the idea of a career service for the people involved is a
great idea and would help them in the long run. I'm not sure I know how
centralization will help OTE, but it might. Also, I know this is
an issue that will be hard to resolve because of turf.
4. Regardless of the above, it might be good to provide a study for
management to consider. I am sure we will find that the IG will not consider
status quo appropriate. So charge ahead!
Harry E. Fitzwater
Distribution:
Orig - Addressee (w/att)
1 - DDA Subject (w/att)
1 - DDA Chronc (w/o att)
1 - HEF Chrono (w o att)
DDA/HEFitzwater:rj (8 March 85)
WARNING NOTICE
INTELLIGENCE SOURCES
OR METHODS INVOLVED
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1 MAR 1985
MEMORANDUM FOR: Deputy Director for Administration
FROM: Henry P. Mahoney
Director of Logistics
SUBJECT: Centralization of Agency Television Activities
REFERENCE: Draft memo fm D/OC, Subject: Suggestions for
Centralized Agency Television Activities
1. The referent paper proposes, in paragraph 8, that all
television and audio-visual production facilities and personnel in
this Agency be centralized within the Office of Logistics,
Printing and Photography Division (OL/P&PD). After a thorough
review, I believe that centralization of this Agency's television
and audio-visual activities makes sound management and economic
sense. It is my opinion that the current situation is confusing
and inefficient. The approach outlined in the referent appears to
follow the natural evolution of OL/P&PD from motion picture
technology into television production.
2. The following issues need to be addressed prior to
undertaking any centralization:
a. Personnel - I agree that all "designated" personnel
should function within a new career group under the direction
of the program manager. However, issues such as the
abundance or inadequacy of current staffing levels,
classification of positions, staff versus contract employees,
staff development and training delineation of career path(s),
and methods for conflict resolution of personnel entrenched
in the various policies and procedures of the disparate
groups need to be fully addressed.
b. Physical Plant - In my view, the available space in
the existing P&PD plant is inadequate to accommodate a
central television production center. If approved, the
recently proposed expansion of the P&PD Building, to include
a professional television studio complex, will correct this
situation. This proposed facility would provide an on-site
location with dimensions large enough to incorporate all
Headquarters television operations.
All portions of this document
are classified CONFIDENTIAL
WARNING NOTICE
INTELLIGENCE SOURCES
OR METHODS INVOLVED
C O N F I D E N T I A L
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SUBJECT: Centralization of Agency Television Activities
c. Budget - The issue of the true operating costs of
current and proposed operations needs to be fully explored
with subsequent arrangements for budget allocations to P&PD.
We have little insight into the dollars invested in
television and audio-visual production equipment and services.
d. Graphics and Visual Aids - I feel that a larger issue
may be at stake in the area of graphic services that can only
be resolved by further investigation into whether or not the
television portion of each center should be tapped or whether
all of the Agency's graphics services should be centralized
in a fashion akin to the television proposal. The referent
is vague concerning this issue (see paragraph 8 g.).
3. I do not propose that
become the training center for all television production
personnel. In order to maximize the use of personnel assigned to
this program, flexibility in a variety of environments is
required. I feel that this can best be accomplished via tours of
duty at all of the program's production locations.
4. I believe P&PD represents the best component suited to
assume charge of a centralized television service. P&PD is used
to being responsive, supportive, open, and available to all Agency
components, often at the "eleventh hour." In addition, P&PD has
all the necessary support elements (cinematography, still
photography, laboratory processing, graphics design, typesetting,
and printing) available under a single, cohesive entity with
established working relationships between those elements.
Furthermore P&PD has, in place, the management expertise required
to offer such a service to all levels and all components within
the Agency.
5. If you agree with the above approach, I suggest that
authorization be granted to initiate a formal staff study which
will develop the necessary facts and alternatives to reach an
informed decision in this matter.
Henry P. Mahoney
Attachment:
Reference
C O N F I D E N T I A L
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FUNCTIONS OF THE PROPOSED MEDIA PRODUCTION CENTER
1. On behalf of the Agency, the Media Production Center would
undertake production of programs in all media except motion pictures. This
means that production of videotaped television programs, audio visual programs
(commonly, slides or filmstrip accompanied by audio tapes), audio only
programs, and graphic support for live presentations would be undertaken.
2. Types of videotaped productions to be made would include those
meant to communicate within the Intelligence Community or internally within
the Agency. Examples would be DCI presentations, Office Director
presentations for Directorate and Office consumption would be others.
Likewise, research results, hypotheses, and proposals for presentation to and
study by working level counterparts throughout the Community might be
videotaped. Certain types of factory presentations involving work done under
contract might be videotaped for the record and for study by concerned Agency
personnel. Daily reports to the Director and the White House can be presented
using videotape.
3. An entirely different category of videotape production consists
of trainin to es. Several different components use TV in training: OTE, OC,
ODP, OSO, P&PD, OTS, and NIESO. The Media Production Center would
support all of these activities if It would have facilities
located in OTE OC PaI~PS ODP and P&PD (at HQ).
4. Audio production, i.e., slides, filmstrips, etc., accompanied by
an audio program, would be done for the components that use this medium by the
Media Production Center in the facilities already located in OTE, OC, and at
Headquarters. The personnel who would produce these programs would be drawn
from a reorganized Graphics and Visual Aids Staff and a Photography Staff,
both of which would be attached to the Office of the Production Manager, MPC.
The Graphics and Visual Aids Staff and the Photography Staff would also
support the Main Printing Plant as needed. Audio for the audio programs would
be handled in the OTE, OC and Headquarters facilities of PPD/MPC.
5. Multi-terminal secure teleconferencing facilities would be
jointly operated by P&PD/MPC and OC.
6. The Media Production Center would handle training of its own
television and other personnelF----] External training would be secured as 25X1
required.
7. A remote production van will supply needed support to projects
requiring location taping.
8. A centralized duplication center will be established at the P&PD
building to control the dissemination of video tapes to Agency and Government
components both domestically and overseas.
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HANDLING AGENCY REQUIREMENTS FOR MEDIA PRODUCTION
1. A requirement for any type of media production would come from
Agency components to the Office of Production Manager, MPC, where priorities
would be assigned and production resources allocated.
2. A Coordination Staff, Office of the Production Manager, MPC would
be the actual interface between the requester and the Media Production Center.
3. Requirements for production in any media to be used for training
would be handled in the same way by MPC, but course design would be the
function of the requesting Office. This is done, f le, by an
Instructional Development Specialist in the case of r exam or a Training
Coordinator in the case of Most training requirements would
originate in components where ere are already training facilities that would
be used in the production. If other resources were needed from MPC, they
could be readily scheduled and called upon.
S
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INTELLIGENCE TELEPRODUCTION BRANCH/MPC
1. Requirements for television production of an intelligence report
would be levied on the Office of the Production Manager, MPC, as described in
Paragraph 1, Attachment II.
2. The Coordination Staff, Office of the Production Manager, MPC,
would be the interface between the requester and the Media Production Center,
as described in Paragraph 2, Attachment II.
3. Once production is begun, the Technical Programmin Specialist
and the Writer/Editor/Narrator would be working closely i the intelligence
production o icer.
4. Further detail on television production of intelligence reports
may be found in the 15 November 1976 report: Research Plans for... Television
Programming for Presentation of Intelligence.
5. Duties of personnel are described in Attachment VIII.
6. Responsibilities for the closed-circuit television facilities at
Headquarters Building would be given to this Branch.
SECRET
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SW,KtI
ATTACHMENT IV
OTE BRANCHES OF MPC AT CHAMBER OF COMMERCE
1. Requirements for media production for training purposes would be
levied as described in Attachment II. Production resources in place would
probably be adequate for OTE requirements, but if other resources were needed,
they could be scheduled as required.
2. Graphics specialists would be available at the OTE locations.
their duties are described under Graphic Artists in Attachment VII.
3. The closest working relationship would be maintained with the OTE
Instructional Development Specialist, who is responsible for course design.
4. Responsibility for the closed-circuit television facilities at
Headquarters Building would be transferred to the Intelligence Teleproduction
Branch/MPC.
SECRET
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ATTACHMENT V
F-IBRANCH/MPC IN SUPPORT OF OC, OSO, OTS AND STATE
1. Requirements for media production will be handled as outlined in
Attachment II. Production equipment resources in place would probably be
adequate 0 but an increase in production personnel is required.
2. Graphic Specialists would be available) as described in the
covering Memorandum. Their duties are described in Attachment VII.
3. Production of communications training use would be done in a
close working relationship with the Instructional Support Staff and Subject
Matter Specialist provided by each component
4. Television roductions required by OTS, OSO and State will funnel
through the OL/P&PD/MPCrepresentative.
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JOB DESCRIPTIONS OF MPC PERSONNEL
1. These job descriptions for MPC personnel are drawn from
corresponding job descriptions in private industry where applicable.
Suggested GS grades closely parallel non-union salaries for corresponding jobs
in private industry.
Administrative Assistant (GS-9)
Serves as administrative aide and Production Assistant to the
Director of Production; identifying, locating, and obtaining
materials essential in developing a video program.
Assistant Director (GS-11 and GS-12)
Coordinates all electronic switching and special effects during
production; assists with editing and duplication when special
effects are used; also known as a Switcher or Technical Director
in the Television industry.
Audio Operator (GS-10)
Coordinates all audio for the production; sets all audio cables;
controls audio during rehearsals and during production; produces
all sound effects for a production; monitors all audio inputs
and program audio output; follows script during production for
the Assistant Director.
Branch Chief (GS-12 through GS-14)
Responsible for the administration, management, scheduling, and
operations of the Branch.
Camera Operator (GS-9)
Operates the video camera during a production; follows
directions of the Video Director and Floor Manager; smoothly
adjusts camera angle and lens during production as directed;
before production, inspects cameras, with video technician, to
ensure against breakdowns during production; determines cause if
a breakdown occurs.
Character Generator Operator (GS-8)
Operates character generator; coordinates all electronic
graphics during a video production; works with the Assistant
Director to develop visual displays for the titles; controls the
multiplexer unit during production. This person will also
function as a Film Chain Operator.
SECRET
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Attachment VII CONTINUED
Coordination Specialist (GS-10 through GS-13)
member of the Coordination Staff, is the interface between the
customer and the office of the Production Manager; coordinates
scheduling of production with customer, Script writers and
Subject Matter Specialist; advises customer on program format
and MPC capabilities to meet requirements or to provide special
services.
Film Chain Operator (GS-8)
Operates film chain systems under supervision of the Video
Director; maintains a check on all motion picture films and
sttiilk-slides intended for production use to ensure quality and
completeness; splices motion picture film where necessary; loads
all films and slides in film chain.
Floor Manager (GS-10)
Functions as the link between the control room and all studio
activities; under the immediate supervision of the Video
Director, directs all production people on the studio floor;
relays all instructions from Video Director to the performers;
takes full charge of studio during rehearsal and during
production.
Graphic Artist (GS-11 and GS-12)
Creates all visual materials in the proper aspect ratio (3:4),
with proper color balance, color coordination, etc. for video
production; operates any graphic computer during production.
Also creates drawings, sketches, designs etc., required for
other media and live presentations and supports the Main
Printing Plant with designs as required.
Production Manager (GS-15)
manages all operations of the Media Production Center, including
all Branches and Staffs with activities throughout the Agency;
is responsible for a wide variety of closed-circuit and
videotaped television productions, audio and audio-tutorial
production, and graphic support for live presentations; is also
responsible, in conjunction with OC, for the multi-terminal
teleconferencing facilities of the Intelligence Community.
Chief Video Engineer (GS-14)
Title given to the head video engineer and any production
facility.
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ATTACHMENT VII CONTINUED
Video Director (GS-12 and GS-13)
Manages the video studio; coordinates all productions through
the Coordination Specialist; assists in the development of a
television script; suggests and builds appropriate sets for the
rehearsal and actual shooting; coordinates all graphics, audio
and remote taping for the production; consults with customer,
Writers and Subject Matter Specialists on any rewrites; controls
all production areas during tapings; makes final decision on
quality of production; assists Video Technician with all live
editing; sets all lighting for the production.
Video Technician (GS-11 and GS-12)
maintains all video equipment; operates all video recorders;
controls all live editing during a production; assists with the
lighting; assumes responsibility for all duplications and for
time base correction of the video signal for special effects.
Writer/Narrator (GS-13)
Writes teleproduction scripts with the customer or Subject
Matter Specialist; has direct liaison with the project
requesting Office; edits the script for clarity, coherence, and
conciseness; narrates the teleproduction.
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