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re bath-tub scenes are out. But Palmolive delivered its message safely on film Painstaking stop-motion technique takes skill, costs more than other film methods
show their wares as they actually are.
Actually, if such "show-me" selling is the logical approach for a product, it may not be wise to use film at all. Results so far indicate that live commercials score heavily with their sense of immediacy, their close integration into the program. And even single liveaction film commercials cut a neat $1,500 to $2,000 slice out of an advertising budget. Besides, after laying out this kind of money an advertiser can't be sure that a careless engineer won't occasionally spoil the effectiveness of his film commercial. This can easily be done by not positioning the mask properly during projection, thus cutting off one edge of the picture from receiving tubes. Or the focus may not be too sharp.
On the other hand, live-action (nonanimated) film commercials have definite advantages. For one thing, they provide guaranteed performance. Ronson lighters, as an example, are demonstrated on film, thus sparing the agency and advertiser from chronic nervous stomachs. Of course a Ronson always lights the first time . . . but suppose it didn't during a TV broadcast? Then, too, the setting for a commercial is practically unlimited on film, but just try to televise a new Mercury roaring from one wall of a television studio to the other.
Some of the biggest plus values of film are intangible, including opportunity for longer and more careful preproduction planning, more expensive backgrounds and props, optical effects such as wipes, pop-ons. write-ons, and stop-motion. Altogether, these seemingly minor details add up to greater conviction and a more professional appearance. How much they increase sales appeal no one knows for sure, but if such touches cause one product I Please turn to page 48)
Five capsuled vase histories of live-action films
Bikeroo (Play Creations)
Single 90-second test film made by account executive and TV director of Ted Bernstein Associates, ad agency. Amateur talent filmed on 16mm silent film, live voice-over recording. Distributed in New York by Teletoys, Inc. Estimated cost $500.
Crisco (Procter & Gamble)
Four 60-second films made by Transfilm, Inc., under supervision of Compton Advertising, Inc. Live-act'on demonstrations of food made before viewer's eyes with Crisco. Some stopmotion used in several of the films. Estimated cost about $1,600 each.
Lighters (Ronson Art Metal Works)
Six 20-second films produced by Ted Nemeth Studio under supervision of Grey Advertising Agency. Each film differs in format, covers particular Ronson lighter: table, pocket, pencil, etc. Considerable stop-motion used. Estimated cost about $4,500 each.
Esso Service (Esso Standard Oil)
Two 60-second films produced by McCannErickson, Inc., with rented facilities. Created to accompany Esso-sponsored telecasts of football this fall. Believable situations beginning in stadium high-light Esso service. Estimated cost about $1,500 each.
Home Dry Cleaner (Re-Clean)
Single 60-second film in color produced by Ben Green Film Productions under supervision of Cayton. Inc. Model demonstrates use of dry cleaner in "home" kitchen. Voice-over sound. Color prints for department store showing. Estimated cost about $1,500.