Sponsor (July-Dec 1951)

to acquire any other way. For instance, U. S. Tobacco had a recent "integrated" TV commercial on its Martin Kane series that had passed the eagle eyes of agency and network checkers. A youngster was supposed to come into the tobacco shop that's always used for the program's comi mercials and buy a pound of Model tobacco as a Father's Day present. All very charming. But, it was a complaint from a New York viewer which reminded the advertiser that it was against the law in many localities to sell tobacco to kids — even if it's clearly intended for use by an adult. Now, only adults buy tobacco on Martin Kane. Viewer gripes have seen to that. • • • FILM COMMERCIALS (Continued from page 35) ers, and should not follow "radio" technique in telling their story only through words and sound. If anything, they have much in common with the writers of a good comic strip, and have to keep a constant, tight balance of words and picture value in their TV selling, as well as a strong feeling of continuity. "TV film writers," says Forest, "can learn a lot from good movie trailers. Reducing a concept like Gone With the Wind from a four-hour film to 90 seconds of trailer 'sell" is a good example." 2. Production — As much as possible, writers should try to keep the number of locales and characters down to a minimum. He should not work with the threat of a budget hanging over him, but he should be economical. He should avoid the extremes of too many words, or all-visual sell and over-production. Writers should also remember to plan in terms of a series of com BEAUMONT & IHMI >l \\ INCORPORATED takes pleasure in announcing its selection as the advertising agency for Radio Station WOW, Inc. including both WOW and WOW-TV Effective Aug. 1, 1951 Omaha office: J. B. MAYO 638 Insurance Building Manager mercial films, instead of just one, so that all the possibilities of a setting can be exploited and so reduce the cost. "With new scripts, and some changes in wallpaper, camera angles and set details, we managed to get five different commercials done on one set recently for Duff's Gingerbread Mix. Another time, we got six commercials out of one setting of a 'pub' for Guinness Stout. This reduces costs tremendously over the whole series," Forest told SPONSOR. Here are some more Forest-isms of general film wisdom for writers: "Writers should not try to 'compete' with programs as regards the fanciness of production. Some clients spend $50,000 per week on live production and talent in a TV show, and no commercial film writer has a comparative budget to spend for his commercial. Keep it straight and simple, and don't worry about how glossy the program is. "Good writers are not afraid to learn all they can about film techniques. Visit film studios in action, watch other TV commercials on the air. But, don't fall in love with technique. Remember that knowledge of specific film effects is a tool that should be used to interpret an idea. It isn't an idea in itself." "Agencies should not try to save money by cutting corners in hiring or assigning writers to TV commercials. When this is tried, it usually winds up as lost money in terms of the time taken to re-do. or re-write the job." II How art director saves you money (Lecturing: Mr. Paul Petroff) The Art Director of a TV film company generally supervises the appearance, color, and style of everything that goes in front of the movie cameras, from the labels on a box of soap flakes to the color values of the wallpaper. He is probably the most ubiquitous man — certainly one of the busiest — on any production team. He will sit in on the drawing-up of a film bid to an agency. He has to design sets so that they do not overpower the product or the action. He will consult with the film's director on color values of props, costumes, sets, and products before filming actually starts, and while it is in progress. His general area of responsibility starts when the scripts come in from the TV writer, and the "storyboards" ( a series of a dozen or so small rou»h Nat D. Williams One of WDIA's many famous personalities LUCKY STRIKE joins the Swing to WDIA in Memphis WDIA completely dominates in selling the 44°o Negro segment of Memphis' 394,000 population — economically reaches and sells a total of 489,000 Negroes in WDIA BUB counties. The 5 other Memphis stations split up the white audience. LUCKY STRIKE now uses WDIA as do such other QUALITY advertisers as Lipton Tea. Ipana. Super Suds. Purex. Sealtest. Arrld. Sure-Jell and Frostee. The Hooper below shows why WDIA is a GREAT BUY. Write for full details. City HOOPER RADIO Memphis, Tenn. AUDIENCE Months: INDEX May-Jum I9il Time Sets WDI A B C D E F G M-F 8AM-6PM 13.7 24.6 23.6 17.3 12.6 12.4 5.3 2.9 MEMPHIS WDIA TENN John E. Pearson Co., Representative SEPARATE BUT EQUAL WERD Proves A Moot Southern Point in Atlanta . . . '•'"'Separate but equal , — that famous phrase heard but seldom seen, came true, Hooper-wise for WERD in May, 8:00 AM to 12 NoonMonday through Friday. WERD'S Hooper Audience share equals the best station in Atlanta today. Here are the Hoopered facts: WERD — 23.2 Station A — 23.2 Station B — 19.7 Station C — 10.6 Other AM and FM — 23.2 WERD is the most economical radio buy in Atlanta. C60 on every Atlanta dial covers the area shown below 1000 watts 13 AUGUST 1951 75