Business screen magazine (1938)

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Ordhr From Your Newsdealer or drop a line to Business Screen 20 North Wacker Chicacjo, JlUnois WHAT THE CLIENT THE SLIDE FILM EXPECTS OF PRODUCER Part Two of ati outline sugyesfcd by an experienced user oj souyid slide films 17. Aht \Vork The producer should iurnisli trained artists who can work out impressive pictorial presentations tliat can he pliotofiraphed. The artist should he on the lookout for opportunities to embellish pictures and photofjraphs for the purpose of eniphasizins iacts carried in the script 18. Lay-out The producer should be responsible for all lay-out work. The pictures should be simple but carry the points clearly. Charts. diat'raTns. and tables should be laid in such a manner that the audience cannot help but fjet the meaning intended. 19. Laboratory Work The producer should be responsible for all laboratory work necessary to produce good pictures. For example, the film should be printed so that the frames are uniform in density. Furthermore, the density of the emulsion on the film should be made to agree with the projection equipment owned and used by the client. The producer should never use "stock" shots unless such pictures agree in density with the rest of the pictures used in the film presentation. 20. Sound Recording The producer should be responsible for all sound recording. He should use only the highest quality sound recortling such as the R.C.A. High Fidelity Sound Recording, Western Electric or its equivalent. He should keep the client informed of the type of recording and thus recommend the needles necessary to reproduce the sound recorded. 21. Voice Talent The producer has the responsibility of the casting of voices and talent and should select only experienced stage artists, radio artists or announcers. 32. Direction of Sound The producer will furnish an experienced recording director, thoroughly familiar \\ith problem to be solve<l. metliod of treatment and materials to be used. Director should discuss script with writer and editor, rehearse cast and direct cast during recording of script. 93. Sound Effects and Special Location Sounds The producer is also responsible for all soinid effects used to get illusion of action, for picking up and recording of special location sounds, and for re-recording these special location sounds as they should be used in the recording. 24. Music The producer selects and records all music used in the film presentation. Music should be selected with extreme care so that it is appropriate to the thoughts carried in the script. Through careful music selection, the emotions of the audience can be controlled and swayed to agree with the script content. 25. Music Releases The producer is also responsible for all music releases so that client can in no way be held for using arrangements without ]>ermission. 26. Complete Dramatic Treatment The producer usually endeavors to use complete dramatic, ratlier than factual, treatment in presenting solution of a problem. This treatment reduces the numhcr of facts that can he presented but "sugar coats" the solution so that it is easier for audiences to grasp. The conscientious producer will tell the client that the sound slide film in itself is not a "cure-all." Although one of the most efltective media for presenting the solutions of a problem, it may be generally more effective when supplemented by other media such as personal contact, supervision, booklets, leaflets, and folders. 27. Master Negative and Positive Prints The prorlucer should lie responsible for the master negative and the positive prints on safety film, preserving master negative so that client may purchase additional prints at any time. 28. Speed of Film The capaltle producer can be depended on to create a fast-moving film production, averaging 10 frames ]>er minute. This recjuires highly-traineii scenario writers who can produce script of this type without splitling thoughts. Each frame should carry one complete thought. The inexperienced scenario writer speeds up presentation merely l>y splitting one single thought over several frames; the experii-n< i-d writer can express a single thought in so few words that the complete i<lea is presented in five seconds or less. 29. Rhythm An average speed of 111 frames piT ininulidoes NOT mean that every frame should be exactly (i seconds long. The lilm nmst have rhytlim, or change in sppeed or pace at which pictures are presented on the screen. If frames are of equal time, the result is what is A GENERAL ELECTRIC SALES TRAINING SLIDE FILM ILLUSTRATES a graphic point for the G-E retail radio salesnuui. known as "monotonal fatigue" on the part of the audience. With sonic exceptions, such as laughs and technical terms, the length of time that a picture is allowed to remain on the screen .should he governed by the content of the picture rather than of the script. Length of time per frame sliould probabl.\ vary from as low as 2 to as much as 22 seconds. Frames above 12 seconds should deal only with such "heavy" content as diagrams, charts, formulas and abstractions. 30. Eye-Sets The producer should provide scenario writers and adapters who understand the fundamental principles of "eye-set," or the len -th o time it takes the audience to see and interpret the picture on the screen. If the "eye-set" is too short, the audience fails to grasp the meaning intended and becomes irritated; if too long, the audience becomes weary and restless. The picture on tlie screen nuist agree accurately with the content of the script or the audience l>ecomes disturljed. 31. Jumps The good producer will provide experienced writers who know how to minimize the interference of the eye jump and the sound or script jump resulting from the gong. This can be done by seeing that a complete thought is pictured in a single frame or by providing a "spring board" between frames. A "spring board" is merely a device employed by the experienced writer to swing the mind of the audience from one frame to another. While the mind of the audience is "taking the spring," the gong is sounded as a signal to the operator. The audience is concentrating on the transition from one frame to another to such a degree that the gong it.self becomes less distracting. To date, no writer has been able to eliminate the gong completely from the mind of his audience but it is important that the writer and photographer work together so as to lead the audience from one thought and one picture to the next smoothly, logically and without monotony. 32. Pre-Selling The producer should recommend to the client methods for pre-selling a given slide-film production. This pre-selling must be done in such a way that a desire to see the picture is keenly aroused. Without revealing the story, pre-selling must prepare the audience for what it is going to see. 33. FoLLO\\-i'P The producer sliould also recommend to the client inetho<ls of following up the showing of a slidefilm production with supplementary materials tliat help the audience understand the thinking that was built into the picture. Tliese may take the form of leaflets, booklets, monographs, illustrated folders, or other more clever devices. 34. Measure Results The producer can help the client by showing him methods to measure the results from a given slide-film. The producer's fund of information gathered in his work on the production enables him to help the client establish a list of fads intended for the audience to grasp. On the average, 75 \)er cent of the facts built into a slidefilm production should register with the audience on first showing. 35. CopvRiiiHT Tlie producer should copyright the finished production to assure protection for the plot, subject materials, method of treatment, title, finished scenario and all phases of the completed sound slide-film that can be proterted by copyright with all rights reserved, thereby protecting the client so that competitive and non-competitive companies cannot use the same materials and treaiment. Copies oj the ahore outline leill he jurnishcd free on reijuesf \roni Business Sereeti Matfaiine 38'