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FILM COMMERCIALS 303 Another problem in connection with technical proficiency is the real lack of control which employers have over their men in the way of disciplining them for slack and careless operation. In i some cases if the employer tries to dismiss a man the union con- cerned rises up in arms and goes to his rescue no matter how wrong he may have been. The foregoing is not wandering away from the problem under discussion, for it directly concerns the choice of the sponsor for film or live presentation of his commercial. In the long run the human error is the limiting factor, provided the equipment is per- fect. If we assume for the moment that the film is perfect and the studio or live presentation has been rehearsed until it is perfect, we have more or less equal footing for the two—or have we? A perfect film is placed in the projector. What can go wrong? : (We'll assume that in each case the equipment is in first-class operating condition and will not fail.) The film can be placed in the projector wrong way up and wrong way round through gross carelessness and laziness. The projector can be out of focus and dirty; the change-over can be muffed and the film come in early i on the leader, or late on the second scene; the film can break; if it is a sound film the sound may not be switched to the projector 1 with the video circuit. But after all these things have been cor- rected the film will still have the perfect commercial on it and the last part will have a chance of atoning for the beginning. Compare this with a live presentation where comparable errors have been made in the cut to commercial. In this case suppose the I demonstration is coming from another studio so there will be a cut j to muff by going over too early on video or sound so the listener may see and hear remarks or actions not intended for the air. This ! is especially so if preparations for the demonstration have been left : to the last minute as is so often the case. The cameraman may be •i out of focus, may have moved from the excellent position set up | by the director at rehearsal; the demonstrator may take up an- i other position just a little different from his approved one, but different enough to ruin the shot, or lighting. Having got over i these things, perhaps from a missed cue to open, the demonstrator