Sponsor (Jan-Mar 1959)

With increased film production problems, SPONSOR ASKS: How can commercial film producers improve services to As agencies face new commercial film problems, experts discuss methods to streamline producers" services to the agencies. Rollo Hunter, v.p. & dir. of tv & Tadio, Edwin W'asey, Ruthrauff & Ryan, Inc., N.Y. It's foolhardy to invite a clout in the snout, yet somebody has to come right out and say that production here is afflicted with a creeping paralysis that could do with some stamping out. Improvement can come in such areas as organization, creativity and Delivery dates should be met on the button that important business of imparting confidence to clients. For one thing, delivery dates can be met on the button. The lab goofs, the agency vacillations, the last-minute client changes can all be figured realistically into the original schedule. That way nobody gets mad. Breakdown of bids could also stand improvement in some houses. The too-general letter that simply says, "We can do it for so many dollars — hope we get the job" isn't enough on todays competitive market. More agencies and more clients want specifics on what costs what. And it's no favor to anybody when bids aren't realistic. We need speed-up techniques in making commercials. Old st\le onelittle-thing-at-a-time methods just don't jibe with today's needs. (Let the videotapers improvise on that theme. I If we're to go faster and maintain quality, however, we'll have to face up to some apparent union problems. Directors hesitate to rush crews, knowing that it can get them into trouble with guilds. A grievance clause for the producer's benefit is a hard thing to find. And, while the producer obviously can't be blamed directly when gaffers drag their feet just before overtime, or shots are loused up coincidentally five minutes before breakover time, maybe all the producers should get together to figure some way to minimize such abuses where they exist. While we're at it. wouldn't it be nice (less important, but nice) if the director always had control on the set and extraneous noises didn't ruin so many takes? If the crew didn't occupy all the chairs between takes, leaving clients on their feet? If storyboards sent to producers didn't disappear magically and constantly? Now, if all this grousing seems less than fair to the many producers now doing a wonderful job, let's freely admit that there are plenty of legitimate gripes from producers about agencies. Perhaps Sponsor Asks should ask their opinions someday. Roger Pryor, v.p., broadcast production, Foote, Cone & Belding, New York The area in which I believe filmproducing companies could generally Better supervision of film editing improve their service to clients is in post-production follow7 through. In the initial contact I find very little difference. A personable young man I or woman) asks for an appointment, shows a reel — presumably of their most recent and best work — assures us they will be found competitive and departs with a request that they be considered for a future assignment. Assuming for the moment that this particular company has proved to be worthy of consideration, that they have been given scripts and/or storyboards for cost-estimating purposes and ultimately have been given the job; the honeymoon begins and no groom could possibly be more attentive. Production meetings are held, with great care given to the last detail. Set designs and artwork are submitted; your preference of director, cameraman, etc., is sought; the shooting schedule is set; and this high level of rapport is maintained through the pre-production and production periods. With the final "cut" from the director, it's in the can at last and while one might be tempted to indulge in a slight sigh of relief, the wary client will realize that his real trouble is about to begin. The next morning the production executive, the cameraman and director will quite probably be off on another assignment. But who is left to supervise the allimportant selection of takes, editing, completion of intricate opticals, the optical negatives and completion of the final corrected prints? All too frequently, a staff editor is assigned this responsibility and the net result, of course, is that the client must act as the film company's production executive during this period, spending endless hours following his work through the post-reduction stages. Fortunately, some production companies, recognizing the importance of post-production efficiency have capable executives to handle this phase and the print traffic, but too few. James Love, president, James Love Productions, Inc., New York To better serve the advertising agencies and their clients, most film producers have set up procedures to handle the agencies' needs as though it were their personal problem. However, one of the most important services a producer has to offer is too often overlooked, or, if it is 1() SPONSOR 7 FEBRUARY 1959