Broadcasting Telecasting (Jul-Sep 1953)

EDITING FEATURE FILM (Continued from page 88) tent, comes the film editor's highly detailed function of checking for the technical quality of the prints themselves. "Bicycling" prints from one station to another frequently results in imperfect and multilated prints being delivered to the hapless TV film editor, Mr. Muller complained. Splices, breaks and lab imperfections are all defects which a really conscientious film editor will not approve for programming. Although the agreement is to re-assemble the edited feature motion picture before sending it on to the next contractee or back to the distributor, many times the film will simply be dumped, as is, into the case, Mr. Muller declared. Film also may arrive at the TV station with scenes stapled together, fastened with scotch tape, or destroyed entirely. On several occasions KTLA's film department has received feature film with portions of other unrelated motion pictures spliced in the middle. Mr. Muller had several suggestions to pass on which he feels will at least ease the "quality" problem of feature films. He said it was the practice of KTLA to refuse acceptance of any print from the distributor, or to pay express charges, unless the film quality is desirable. And since so many films arrive in unac SUCH AS Cream of Wheat TV COMMERCIALS FILM INDUSTRIES WRITE OR CALL FOR YOUR PERSONAL SCREENING OF RECENT TV COMMERCIALS FILM INDUSTRIES Chicago • St. Paul Hollywood Established, ?9/0 ceptable condition in these days of "bicycling" prints, he said the station has initiated the policy of buying special prints for the length of the showing time on KTLA, and then allow the distributors to buy them back at the end of the lease period. As still another aid, Mr. Muller advises keeping a complete record of all films shown on the station, through a card index file which notes the running time, length of film where the breaks are, plus quality and grade of the film. Several "check points" are available throughout the entire length of the feature. If each of these "check points" match exactly to the previous handling, the print can be assumed complete, he said. Research Sources As a footnote to the problems of film quality, the KTLA film program director and editor emphasizes the necessity of always keeping prints of varying length at hand, for the last-minute discovery of soiled or imperfect prints, or in case of an emergency substitution for live programs or technical problems. As an aid to the independent station film editor who desires a complete background of information on motion pictures, there are a few books and research libraries to which he can refer, according to Mr. Muller. Such sources, he said, as Motion Picture Year Book, Qiiigley Production Guide, Motion Picture and Television Almanac, International Motion Picture Almanac and Motion Picture Review will give date and year of the feature picture, its cast and running time. In starting a new TV station, Mr. Muller •urges building a reputation of "quality," not "quantity." He feels that growing knowledge of the product, plus increased availability, and what may be equally important, persistence on the part of the film buyer in his contacts with the distributor, will bring buying results. He advises against purchase of large blocks of film which contain a few superior pictures and a preponderance of deadwood. His recommendation is single purchases of good film, pointing out that as more and more feature motion pictures become available to television, a film department can be more selective. Obtaining quality films of suitable length is one of the greatest problems which confront the film buyer in Mr. Muller's opinion. Often it is possible to secure superior pictures of 60, 70 or 75 minute lengths, but these will not fit into the average first-run time slot of 90 minutes. As a partial solution to this programming problem, he has devised the use of trailers advertising coming attractions. These fill in the time difference and attract greater audiences for the feature advertised. In the beginning, Mr. Muller had to fashion these trailers himself, taking clips from films and making slides of the title and cast. However, more and more distributors, increasingly aware of their exploitation value, are now furnishing TV stations with such trailers. Another programming concern to the TV film head can be the personal tastes and preferences of the sponsor, or the market toward which he is aiming. This sponsor selectivity can often create last-minute film shifts and programming changes. It is therefore important to supply sponsors with considerable advance scheduling of their films, Mr. Muller stressed. Within the scope of the film department, and in some instances, under the direct supervision of the TV film editor, will be the making and projecting of shdes, he said. Although the actual art work for slides is done in the art department, there are a few points of specifications noted at KTLA which he feels might help the film department, and incidentally the production personnel, of other TV stations in their projection of the slides. He said first is the factor of providing sufficient border on all material intended for slides, so that they will be framed for projection and receiving without losing any content. Of equal importance is the designing of layouts with proper contrast in greys and white, resulting in slides that will carry the greatest visual impact and punch for the advertiser. He also suggests that lettering be thick, with liberal spacing, to avoid the "bleeding" effect of too thin or too condensed lettering. KTLA has also found that the most satisfactory slides are glass — in other words where the film is between two glass plates. While it is true that technical training and knowledge of the capabilities of the equipment are extremely advantageous to the prospective film editor, the judgment and discrimination exercised will be of equal importance, he cautioned. "The more consideration a film editor gives to the audience he is trying to attract and the more carefully he screens a product with an eye to its good taste as well as its entertainment quality, the greater will be his value to the station and the less limited his own personal future." FILM RE-RUNS CAN PAY OFF {Continued from page 89) seven stations within the metropolitan New York area, it relies heavily on films to round out its programming schedule. Back in 1948, when WPIX first started telecasting, it foresaw the great demand for movies, and pioneered early and late movie showings in the area, notably with its SixGun Playhouse around the dinner hour and its Night Owl Theatre near midnight. Both time segments showed high rating records, and a majority of the other stations in the area have followed suit. In September, 1952, the station inaugurated another "first," with its First Show, a 7:30 to 9:00 p.m. presentation of movies never before shown in the area. Each feature is telecast five times weekly, with a new feature commencing each Wednesday. Only outstanding first-run products are booked into the First Show. Anywhere from a month and a half to two months later, 52 SHOWS READY FOR YOU The Sportsman's Club IS minittes hunting, fishing and outdoors with Dave Newell. Panel type sliow. Write for audition print*. SYNDICATED FILMS 1022 FerkM Straet Phone: EXprMS M3S5 Pimburgh 19, Pa. Page 92 • August 10, 1953 Broadcasting • Telecasting