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FILM-SCOPE continued
additional facta on what to expect from videotape were unveiled 1»> Howard S. Meighan, bead of Videotape Productions, last week, touching on tnete urcan:
Coverage: At least one tape-equipped station now covers 70'< of L.S. iv homes; you can expect this to reach 84'/o hy September.
Program production: A rule of thumb on tape savings under (dm for half-hours is this $9,00010,000 per program episode. Also, look fur sequence systems to be set up for continuous four-camera shooting of entire scenes, either indoors or outside.
Commercials: Studio production costs so far seem to be running 25-50/t, le^s on tape than film; it's too early to tell what costs on remotes will be.
Raw tape: There may be an eventual 50% cut in the price of raw tape, but it will take one to five years for this to happen.
Spring starting dates iu syndication this year require that a new show rely heavily on pre-8:00 p.m. time periods.
Of 59 markets Amoco wanted for its first syndication buy with CBS Films' U. S. Border Patrol, 32 were cleared before 8:00 p.m., 15 were slotted between 8:00-11:00 p.m., and 12 are still lacking a firm time period. The two time periods cleared most often were 7:007:30 p.m. and 7:30-8:00 p.m.
One-third of Ampex videotape recorders delivered anywhere in the world by the end of last month ended up in the three key production cities of New York, Los Angeles and Chicago.
The ten cities with the most Ampex tape recorders at the close of March included the following: New York, 53; Los Angeles, 42; Chicago, 14; London, 13; Yokahama, Japan, 13; Alberta, Canada, 8; Manchester, England, 5; Kansas City, 4; Cleveland, 4; Mexico City, 4.
COMMERCIALS
Commercials have a tremendous impact on people's taste and commercial producers can influence this taste if they abide by certain don'ts.
Steve Elliot, of Elliot, Unger & Elliot, offered the following list of don'ts in a talk he made in Chicago last week.
1) Don't offend. "Sell hard— but sell nice."
2) Don't cast the "girl next door" type, especially when professional fashion models do a more effective job.
3) Don't use sets, props, tides and opticals indiscriminately. Follow the concept demanded by the whole commercial.
4) Don't chuck in music to fill gaps. Evoke the right image to augment the message and mood.
5) Don t ignore the producer on creative problems.
6) Don't be chained to the bid system. Fix a price: the producer who wants more will turn down the assignment.
7) Don't use bad tv ads to move merchandize when it means losing friends for the product.
The importance of theatre-screen commercials in overseas markets is shown by Revlon's $15,000 one-minute commercial produced last week by Robert Lawrence Productions.
Shot in color, the spot is destined for dubbing into 14 languages for tv and theatre exposure in 62 countries outside the U.S.
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