Sponsor (Oct-Dec 1959)

I IF YOU'RE NEW IN VIDEO TAPE ^ Here's an introduction to video tape commercials written for agency or client making a first plunge into it ^ John Sallay, radio/tv production manager for Fuller & Smith & Ross, Cleveland, lists 20 points for new user by John SaUay Prod. mgr.. F&S&R. Cleveland I oday there are about 100 U. S. television stations equipped with video tape machines, and the number is increasing daily. Now that more and more stations are able to produce tapes, local advertisers with modest ad budgets are finding that they too, can afford video-taped commercial s. Vtr's (video tape recording I low cost plus the knowledge that the pre-recorded spot will be aired without flaws are the two major factors in the swing to video tape. Clearly tape has many of the same advantages as motion picture film, with the added bonus that a commercial can be video taped and on the air in a matter of minutes if need be. Here are a few things to keep in mind the next time you're going to video tape. The script for a taped spot should be written as though delivery was being done live. Many writers make the mistake of writing film commercial copy for tape. Next, nail down the script before you walk into a taping session. On the spot changes take time, cost money and may even result in having to remake or kill the commercial later because of these alterations. For example, if your taped commercial is likely to run on the air for a long period of time, dating the copy by season of the year or by one week, special promotion will limit the life of a spot. When copy changes are foreseen, the script can be written open end so a live announcer can tag the tape recording with appropriate copy as the commercial continues to play during other seasons. Recording more than one spot at a session offers economies just as in producing filmed tv commercials, but if one commercial will do the selling job, why produce three? As soon as the client has approved copy, the agencyman will take over. He will compile a prop list, determine what sets or backgrounds are needed, select talent, music, sound effects, check with the tape recording facility on booking availabilities and break the copy down into all aspects of production. Armed with this breakdown the production man can then prepare a production cost estimate for the advertiser. The estimate should include not only the costs involved for the individual production but also projected talent re-use payments, tape storage fees charged by the tv station or tape facility, the cost of making tape copies from the master, the expense of a kinescope recording from the original tape, and any other special requirements that add costs. Unless approval is certain, it would be unwise to prepare sets, art or make other commitments toward taping. A booking for tape time should be HERE'S SALLAY'S 20-POINT TAPE CHECK LIST 1. Tape on a modest budget 2. A commercial without flaws 3. Write as you would for ^'live" 4. Nail down the script in advance 5. How many commercials to make 6. W' hat the aiiency production man does 7. Book facilities ahead of time 8. Coordinate with talent 9. Line up {>ro])s 10. Deliver materials in advance 11. Should the sponsor be there? 12. Get yourself there early 13. Rehearse, then shoot 14. Check takes for timing, accuracy 15. Check takes for technique 16. Don't release talent prematurely 17. Hon much tape facilities cost 18. The price of tape duplicates J 9. Hotv good are tape dupes? 20. The use of kinescopes 46 liiiiin iiiiii!:i i'lillllllllllllllllllllllllilll lllllllllllllllllllllllllllllllllllllllll SPONSOR • 12 DECEMBER 1959