Broadcasting Telecasting (Jul-Sep 1953)

TO THE NOVICE FILM BUYER By Elaine S. Phillips IF all the programming of television were to be classified into three categories, whether it be of local or network origin, these three classifications would be studio, remote and film. And until recently that latter group, film, was the neglected stepchild of the business. Film to many broadcasters was merely a means of extending program time or filling up unplanned portions of a schedule. There was a limited supply of available films, and much of what was available was of pre-television vintage. Little effort was made by either the film source or the broadcaster to use film in a proper place or on a series program basis. Today the supply of film is greatly expanded; the amount of film of recent production for television continually increases; and older films are being grouped into specific series programs either by the film distributor or by the stations. A station film-buyer looks for two general points in available films. Is it what the programming schedule needs and is it a ABOUT THE AUTHOR .......... ;m^^...^. Miss Phillips broke into television at WBKB (TV) Chicago [now WBBM (TV)] during World War II, working in various production jobs. In 1946 she became film director of WWI-TV Detroit. She has been film director of WSPD-TV Toledo since 1948. saleable product? Only by close coordination with the station programming department and the sales department can these points be determined. Then come the other points of quality, frequency, cost and contract. But only when a station specifically needs film product for its own programming use or the needs of a sponsor does the station actually buy, for speculation in film can become a very costly monthly expenditure. Available in the film market today are the follov/ing general classifications: Features and westerns (old and fairly new, both poor and good quality, low and high cost packages); half-hour and quarter-hour series of all types of subject matter: miscellaneous shorts of every type; three minute musicals: newsreels, daily and weekly; cartoons, and sporting events such as boxing and wrestling in half-hour and hour-length films. Almost any type of subject matter of any length that your programming needs require, that your local sponsor may be interested in, and that your budget can afford is available on film. Where do all these films come from? And who is distributing them? (1) From film companies whose product was never specifically intended for television but who have made their film available for air use. (2) From film distributors who have acquired the television rights to films and are releasing these films to stations. (3) From established and new film producing companies who are making product specifically for television. (4) From film distributors handling the sales of both miscellaneous and older films and tailor-made television series. The purchase of film for telecasting purposes is as varied as there are film companies and stations, but generally speaking, methods of purchase can be classified as follows: Spot booking .... The rental of one specific film for a one-time use only. Series booking .... The rental of a group of 13, 26, 39, etc., films of the same type for a one-time showing of each. (Some times repeat showings are also arranged along with the initial use, for example, a series of 26 half-hour detective films for one showing each.) Long term use .... Arrangements for a large number of films for a certain number of plays each over a specified length of time, for example, a group of 20 features with three plays each during a period of one year. .... Arrangements for a certain amount of film at a specified cost per hour of film over a certain length of time, for example, four hours of film per week at a fixed cost per hour of film over a period of six months. Library basis .... Contract for a certain number of films for a specified length of time with unrestricted use of the films, that is, no restriction as to the number of times played on the air or as to whether they are for sustaining or sponsored use. Film companies and distributors base their television rental charges on various points: Number of sets in the area, percentage of station rate card (that is, corresponding time rate of station to time length of film), number of times of usage involved, length of holding time, and also on the point of sustaining or sponsored use. Many film companies have based their prices ususally higher than the specific market can afford, and with a few exceptions among the film companies and distributors, it seems to be the negotiations between the station and the film source that determine the actual price for a film for a market. Such factors as the total number of films being bought from one company, the length of the contract period, and the frequency of use of the films involved enter into determining the final price. As a rule it is a good practice to limit all contracts to no longer than a one-year period. For the film distribution business for television is constantly changing, and longer term contracts may prevent a station from the use of any newer film products which may become available at any time. Once the price of the film in question {Continued on page 84) Page 82 • August 10, 1953 Broadcasting • Telecasting