Business screen magazine (1957)

Editing as Pro's do it ... • . . on an Amateur's Budget! The really creative part of making movies is rearranging scenes and sequences into a smooth, interesting show. But you need the right tools to help your skill and judgment. The CRAIG PROJECTOEDITOR with its brilliant 3 '-a" by 4'-4" screen. Master Splicer, 400-ft. capacity rewinds, frame marker and focusing and framing adjustments is just right for the job whether you use 8mm or 1 6mm, color or black and white, sound or silent. This way you see what you're doing when you cut and splice. First you trim out the unneeded ends and leads and not by guessing but at exactly the right frame. You separate the scenes taken at different times of different subjects and with various camera positions and angles. You put related scenes together and distracting ones where they belong. Finally you splice your scenes and sequences into an entertaining show that will hold your audiences. Old prints with damaged frames or out-of-date scenes can be salvaged and used with your new productions. You cut out what you don't want and permanently splice the good pictures, with new or old prints, to modernize your work. On the CRAIG PROJECTO-EDITOR you can even show whole films on a desk without the trouble of setting up a projector and screen. The PROJECTO-EDITOR's hooded screen lets you view comfortably in a lighted room. Its dual cooling system lets you study single frames indefinitely without damaging your film. The film threads straight on a stainless steel guide that doesn't touch the pictures. The Craig Master Splicer and Craig #7 film cement weld smooth splices stronger than the film itself. Folds into its own handsome carrying case I4V2" by S'-i" by 8' 2", weighs 10', 2 lbs. and costs only $79.50 for either the 8mm or 16mm model. See it and try it at your camera dealer's. KALART THE ^ .MM M .M%. E^ g COMPANY, INC. BS-2 PLAINVILLE, CONNECTICUT Producers of Precision Photographic Products since 1930: Flash Units. Rangeftnders. KALART and CRAIG Movie Editing Equipment, VICTOR 16mm Sotind Equipment EXPLOITATION: an Untapped Resource for Sponsored Films by Walter Lowendahl TODAY, it is not uncommon for a firm to spend $100,000 or more on a business film. Understandably a great deal of company enthusiasm accompanies such an event. But, all too often, the enthusiasm does not last nearly as long as the life of the film. Once it is turned over to distribution channels for the normal routine of bookings, the film sponsor is inclined to label the project as completed. Of course, the prime reason for having produced the film is to expose it to prescribed audiences. However, there is a secondary function which a film can serve that may equal or surpass the positive effects achieved by screenings. A motion picture is a valuable piece of company property capable of stimulating great interest in industry and among consumers. Therefore, in addition to the intrinsic value of its message, a film can become a vehicle for public relations. Around it can be built a most effective publicity, promotion and merchandising campaign. There is no reason why sponsored films should not be treated as theatrical films in the area of exploitation. If a company gets behind its business film with a well executed publicity campaign, the results will surely mean a vastly increased audience plus valuable editorial space and public good will. The techniques for promoting a sponsored film can follow much the same pattern as that of a theatrical feature. For example, there are at least 3,000 "trade" publications catering to practically every conceivable industry. Certain types of films carry facts which will appeal to a great many of these. Others may be more limited in scope, but there are few films which do not have ready made publicity outlets in at least a score of trade magazines. The daily consumer press, Sunday newspaper supplements, wire services, photo services and magazines offer e.xcellent publicity outlets. One sponsor of a low budgeted animated motion picture dealing with rheumatic fever recently benefited tremendously from such publicity which was possible only because of the film. Through the efforts of Transfilm's publicity department, a New York Times Sunday magazine feature was arranged. Art and information from the film were used. There is no question that this story went a long way in helping the sponsor accomplish the purpose for which the film was made. The medical and drug journals gave equal publicity support adding to the fruition of the sponsor's aims. Collier's was instrumental in furthering the efi'orts of a public service organization when it published color scenes from a motion picture sponsored by that nonprofit group. An important object of that association was to enlist the aid of industrialists. Again, publicity for their film opened information outlets in hundreds of trade magazines read by these business executives. Not only did this publicity effort help directly in the aims of the organization, but it also built a phenomenal audience for the film. A business film can be publicized before, during and after production. Again, as with theatrical films, announcements of the planned production can be issued to a wide range of editorial outlets. Even the Broadway columns, drama, music and TV editors are natural targets for "items" pertaining to cast. After all, most on camera, off camera and music personnel used in business films are known or, at least, are part of the theatrical scene. We must not lose sight of the millions of daily readers perusing these amusement pages. During production, publicity material of editorial interest can be easily uncovered and directed to the proper media. Immediately after production, a fullscale publicity effort should be launched. When a film finally goes into distribution, a little advance notice (continued on page 84) Slide-Filmstrip Captions Ptompi Seniee ■ ■ lowest Priees '''r;/:^:^ |gl Hot.press Craftsn Sinct 1938 KNIGHT TITLE SERVICE lis W. 23rd Street New York 11, N.Y. 82 BUSINESS SCREEN MAGAZINE