Sponsor (Jan-Mar 1960)

instructions f<>r product rotation and scheduling were mailed from the c\ ii> operations director Norman I l.i He sends film and slides plus copy <>f agency's letter <>f instruction to film director Pete Klein. Receipt of spots in film room calls for two immediate steps: A receipt for the films i typed out (a cop) goes back to operationi. Then, an index card is prepared for each film. A copy of this will also go to operations, but in order to prepare it. these steps come ti i Bl : Condition of films are checked on a projection machine. Closing audio i ue i last words of commercial) is put on index card. Closing video cue is put on each film I a warning mark for projectionist), and the films go to the film rack. As each spot is put to bed in one of 2,374 steel "pigeon holes," the 9 FINAL CHECK, given on morning of broadcast, shows Lorillard spots on film chart with other spots to be aired after 4 p.m. Kathy Steinkamp checks leader 10 THREADING UP first Lorillard spot in new schedule is done by Don Rockwell, engineer. After airing, films are sent back to the film room sponsor code number on its leader is checked against the number on its index card (SP-101-20 identifies a Spring cigarette spot). Then the index cards go into a "visible" file. In addition to closing audio cue and sponsor code number, each card contains a house number for file room reference, visual and audio length of film, product, sponsor, date received (and a space for the date it will be returned or destroyed). When the index cards are completed, copies go to operations director Norm Hayes. Meanwhile, operations is getting the spots scheduled in the daily log — technical run-down that goes to 18 departments. It contains complete audio and video instructions for every film, slide or studio flive^ announcement scheduled each day. Basis of the information in the daily log is a three-ring instruction book (each page of which has full instructions for each film, listed by sponsor code number l and an alphabetical index file with scheduling information for each film. The Lorillard spots must get into both the three-ring book and the index file in operations. Then they can be entered in the "dummy" and "advance" logs. The "dummy" log is made up two days in advance of the schedule by Hayes' assistant, Kathy Steinkamp. It is the log she will work from the next day to prepare the "advance" log for use of three departments only : operations, continuitv I for scheduling live announcements) and the film room. It goes out at noon. The "advance" log enables the film room to get the spots out of the rack for use on the air the following evening. Continuity department uses the "advance" log to get all live copy into a "continuity book" which continuity director Dorothy Godfrey sends out twice a day I covering the two halves of the broadcast day). "Continuity book" goes to six production locations. (Live copy in opening and closing billboard of Lorillards Sunday news show will go out in Friday's weekend log. I W hen the "continuity book" is received in the film room, Dorothy Marbeck double-checks sponsor code number with copy sheet number to see that slide and copy match. \^ ith slides and film ready in the film room, the completed dailv log is being double-checked in operations. The completed daily log is mimeographed and sent out at 4:30 p.m. Next morning, Kathy Steinkamp goes to the film room. By now, the Lorillard spots are on the film cart with other spot and program reels to be aired after 4 p.m. that day. She checks the sponsor code number on each film leader against the number on the daily log. Then the film cart goes to the telecine I projection • room. (The cart makes two trips each dav; trip for film on the air up to 4 p.m. was made the night before, i Thus, two days after receipt, the new Lorillard evening spot schedule is on the air. Next day. cart goes back to film room. "Advance" log for the following day indicates which Lorillard spots will be used the next evening. Those remain on the cart. Others go back to film rack. And the new Lorillard schedule becomes part of an interlocking system of many departments at the station. For agencymen who want to absorb a stations system into the bloodstream of their own way of doing things, here are some tips from KMOX-TV: • Film delivery. Send it in plenty of time fat least 48 hours "I to get full advantage of all protective measures at the station (screening, etc.). Take flying time and weather into consideration. Be sure you know who gets what at the station fat KMOX-TV film, copy and instructions all go to operations). • Rotation of films. Make sure all films for rotation are shipped, so schedules start off as desired. • Disposition of old films. In instructions for new films indicate whether old films should be destroyed or returned. The more thev hang around, the greater the chance for error. KMOX-TV's film department sends out quarterly postcards to agencies asking for instructions on disposition of film. • Code numbers. Make sure code number on film is consistent with code number in your instructions. Advise film lab to make sure code numbers contain all information. ^ SPONSOR 19 MARCH 1960