Business screen magazine (1957)

FILM PUBLICITY Producer Panelists Discuss Techniques for Exploitation •k A four man panel representing the Film Producers Association of New York discussed "'How to Get 16mm Information and Motivation Films Off The Shelves and Into The Hands of The Groups For Which They Were Made" before a large gatliering of The New York Film Council last month. Publicity was the keynote of talks by Lee Bobker. vice president of Dynamic Films. Inc.. William Hagens and John Von Arnold of Henry Strauss & Co.. and Wallace A. Ross, public relations counsel to the Film Producers Association. Getting a Good Press Basic principles set down included: Planning for publicity and promotion right at the outset when the concept and purpose of the film is arrived at . . . Special treatment of press releases so that they are slanted for specific publications as opposed to one broad mailing ... A continuing campaign rather than just a heavy opening blast . . . Tying publicity to a legitimate civic or general interest news feature which can call attention to the problem with which the film deals . . . Enlistment of all pertinent groups and associations to help promote the film . . . and the initiative to focus the attention of the broadest possible "market"' on the film. "Borrow a leaf from the theatrical film publicist's book." advised Ross, in urging that production still photos, exploitation press books, and personal Interviews as well as screenings for the press be provided for. Advises Promotion Budget "Allow for between 5 and 8% of your production budget for promotion." suggested Bobker, who showed Dynamic's prize-winning film on geriatrics. A Place To Live. Public relations activities for this production started with the Initial concept that a film might he needed by this particular field. Interested groups were contacted, a script supervisory commlllee of Important and qualified figures was established, and a certain "guaranteed" audience and print sale were arrived at even prior to filming. Terming this "an avenue for the truly documentary film to explore entire areas not yet undertaken because of hitherto Inadequate financing." Bobker pointed out that "an appreciation of public relations and its working tool, publicity, might well be the springboard for the In THE NEW BELL 6 HOWELU ADDITIVE COLOR PRINTER This totally new color printer offers seven advanced features . . . sets new standards for technical precision and operating convenience The Bell & Howell Additive Color Printer is the result of intensive research and close collaboration with film laboratory specialists throughout the world. In addition to the features shown here, it incorporates the latest innovations of Bell & Howell's Continuous Film Printers which today print nearly all of the world's commercial film. 1. Controlled Color Density— Available light is separated into the three primary colors: red, green and blue. A system of dichroics is used to produce only pure, narrow color beams. Color intensity is controlled by adjustable vanes which act as light modulators, permitting more or less of each color to pass. The three modified color beams are recombined at the aperture to produce the density and color required for correct printing. 2. Increased Illumination— Equipped with 1,000 watt, high-intensity, preahgned printing lamp. An electrical interlock prevents the lamp from burning unless blower is in operation. Illumination can be reduced for black and white printing. 3. Variable Speeds -60, 90 and 120 feet per minute. 4. Integral Fader— Built into the lamphouse. Adjustable to produce the desired fade length. Fade lengths of 20, 36 and 48 frames are available on 16mm printers, and 16, 32 and 48 frames on 35mm printers. Fade adjustments may be changed during the printing run to produce any of the three lengths. 5. Visual Circuit Inspection — Five pilot lights (with dousers) are mounted on each of the three color banks to permit visual inspection of the electrical circuitry for ease of maintenance. Electronic components are replaced as units, virtually eliminating lost production due to maintenance down time. 6. Automatic Operation— Color and illumination cue controls are actuated by a perforated control tape which is pre-punched on the program perforator. The tape passes through a reader built into the console base of the printer and controls all necessary printing functions with the exception of the fade. 7. Easily Accessible Controls Mounted on a panel above th printer lamphouse. The film foo age counter registers up to 10,00 feet of film and can be reset at th start of each film run. The autc Ttiatic jader counter permits th operator to keep count of fades : they are to be varied in length dui ing printing. Both counters are i luminated for easy viewing. AVAILABLE ACCESSORIES > • Program perforator for producinjl control tape | • 1000 watt rectifier for DC • Margin printing kit for light printfi ing edge numbers (16mm) • Sensitized patch cueing kit to eliminate notching For further information, write Be\ & Howell, Prof essional Equipmen Division. 7108 McCorinick Roa^ Chicago 45, Illinois. LIGHT PAHERN FOR THE THREE PRIMARY COLORS '^^ HF +t^^4-r-f^ 10O0 WATT 120V LAMP PRINTING SPBOCKET 16 BUSINESS SCREEN MAGAZINE