Radio annual (1954)

An Independent View Of TV Film Syndication By EDWARD D. MADDEN V. P. and General Manager, Film Syndication Motion Pictures for Television USUALLY, the spokesman for film syndication in a piece like this is the head of a film syndication operation allied with a television network. In s"uch cases the gentleman in question is always conscious of his network affiliation and cannot speak with real freedom about film syndication. Speaking for a leading independent in the film syndication field I have no such inhibitions. Let's start with the fact that the quality of film syndication shows is being upgraded to the point where in story, cast and production value, they are in many cases the equal of, and in some cases superior to, the network film shows. If this starts anyone on a rebuttal line, let him first carefully examine the rating records of film syndication shows vs. film and live network shows market by market. He will be in for some distinct surprises. In many areas, including the biggest television population markets, film syndication shows, in what might be termed "fringe" time are achieving ratings equal to, and in some cases superior to, network film and live shows. Some of these ratings are so good that you will find cases in individual markets where the station has opened up really prime evening time for film syndication shows. In addition to the overall quality of the syndicated film show noted above there is an important plus in terms of the attitude of the regional and national spot sponsor and his approach to the locallevel merchandising, publicity and sales promotion support of his show. Despite the quantity of able manpower in the publicity operation of any network, they cannot hope to equal the performance of a team composed of a regional advertiser, his agency, and the film syndicator. Today there is an increasing trend on the part of network advertisers to turn to national spot placement of their television dollars through the avenue of film syndication. This is not only due to the "must buy" market policy of the net works and its impact on total advertising appropriations, but is also brought about by the much greater flexibility given to the advertiser in putting his television advertising pressure where he needs it most and where it can be most productive for him. The swing over to color film has been progressing steadily in the film syndication field. The tremendous importance of the impact color will make on the consumer has alerted the advertisers and agencies to prepare for the beginning of a new cycle. There are many practical applications to merchandising and selling at retail to be considered for the color TV audiences of the near-future. Color advertising will make any and every commercial attractive. The great increase in self-service retail stores in almost every product classification makes brand identification outstandingly important. The networks have done a fine job in promoting the importance of color, even though there has been some criticism in certain quarters that they have not been as attentive as they might be to the proper means of projecting color film. I think this is an unfair criticism because, to my knowledge, they are all experimenting with proper projection techniques for color film and I believe, are just as anxious to lick this problem as anyone in the film syndication field. The real engineering pros in the business will tell you that any color film that projects well on direct viewing will come through satisfactorily on the television system and that it's only a matter of time until they have the projection problem thoroughly in hand. For ooir part, we are so convinced of this that we are in production in color with "Duffy's Tavern" and "Junior Science." We will shift to color on "Janet Dean, Registered Nurse" this year and produce "Paris Precinct" in color, starting Mayfirst. So when color TV homes are available in quantity during the fall of 1955, our clients will be there first. 1133