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Guild Films began shooting its highly successful "Liberace" Since 1950, "Cowboy G-Men," popular syndicated Western, has
show in color on 9 January with an eye to future tv reruns been filmed in color. Residual rights are currently for sale
2.
J lie average tv station in the U. S. wont have the equipment to telecast color video films locally, either 16 or 35 mm., before the early part of L955.
That > the consensus gathered by SPONSOR from equipment manufacturers like RCA, Telechrome. Du Mont.
Yet the advertiser or agencv who
Producers see ro.vu future ahouil for color film rerun*,
are Inverting heavily now
Production: 1/ than 60<
the if film producers replying in
si'on vey said they had <""
or iif ■ 'I imil on color
film linn fur first run 111 !■
f </ui|>>iK'iif : Film telecasting gear
ami distr or tv s< I
behind \ in film
industry. Local sta , nut lun »
culnr film I ill '55.
asks tn(la\ "What is the syndicated film industry doing about color?" may well be in for a surprise.
As part of its extensive survev of the made-for-tv film bu-iness, SPONSOR received data on the color plans of some 60 film companies. Included in this group: organizations like Ziv T\ . NBC Film Division. Kling Studios, CBS Film Syndication, Jerry Courneya Prodin tions, Vitapix, Motion Pictures for television, Franklin Productions. Cornell Productions and others. The returnrepresent a reasonable crossse lion o| the industry.
Here how the situation stands in
earl} L954:
1. Despite the fact that color film
production calls for heavy invest nts
on the part of producers (or their backers), the t\ film industry is heavil) involved in all sort of color plans. More than 60$ of the firms replying
to sponsor's questionnaire indicated
and problen
that they had one or more tv program film series now in production in color.
2. Some producers -how a ver\ cautious attitude about color film (see below 1. But others, confident that it's onl) a matter of time before tv color film projection equipment will be installed which will handle any standard color film, are in color production to the limit. Franklin Productions, for example, has shot three different series and five pilot films in color — 100$ of production. Others are ranging anywhere from 30 to 75r< of production in color.
3. Just as networks and stations are absorbing nearl\ all of the color t\ conversion cost during 1954. se t\ film maker view color as an investment to be recaptured at a later date, \aturally, this adds to the hazards of financing and producing a s\ndicated tv film series. The producers who (lieu—ed their color plans with SPONSOB
SPONSOR