Sponsor (Jan-June 1954)

Color film commercials will require new techniques, close cooperation of film makers and admen. Above (I. to r.) Peter Elgar, producer; Joseph Noble, Film Counsellors; Abbott Spencer, Tom Vietor of SSCB discuss commercial for Pall MjII Explaining the complexities of film commercial production to admen is a necessity for smooth operation, say producers. Telepix Corp. (L.A.) recently built a cut-away model of their firm's floor plan to :how advertisers and agencies the step-by-step processes involved in making commercial tv films to sponsor's questionnaires. This remark from L. P. Mominee, vice president of Atlas Film Corp., was typical: "Carefully check a producer's facilities and experience and make sure you are dealing with a reputable organization." This sounds on the surface like patronizing advice and perhaps a knock at the smaller producers. Not so. All of the producers — including Atlas — were quick to praise others in the business, large and small, who are doing a good, creative job. 2. Producers can be judged to some extent by their credit lists — that is, the commercials they've made. Such a checkup at least shows the caliber of the clients served. (See list of producers and commercial credits, starting on page 50. 1 Several producers also suggested to sponsor that a tv client about to make some tv commercials would do well to scan through credit lists to look for a film producer who has done several commercials for accounts that are in the same business as he is. In other words, a bakery client should look for producers who have made bread and cake commercials. Reason: Although a client would never dream of having his ad account handled by an agency that already had a competing advertiser in the shop, this philosophy does not necessarily apply to tv film commercials. Producers who have done several commercials for a specific product category — cigarettes or beer, for instance — have usually worked out all the minor production headaches that go with handling any cigarette or beer film. Such problems might include everything from preparing a list of models with attractive hands (to hold the cigarette) to knowing how much light you can use on a glass of beer I before the "head" collapses) . Knowledge like this on the producer's part enables him to advise agency and client in the planning stages regarding certain general production problems with particular product types. Also, it enables him occasionally to l Please turn to page 97 I 11 fin* producers say about agencies ► Chief gripe of producers is that they are "always being rushed " by ad agencies who want top-quality film work on a "disaster basis." This, film makers say, invariably results in upped budgets and tempers. ► Some agencies try to get around the sizable costs of tv film production by shopping for bargains in tv film work. Losses must be made up eventually by the producer, or else the sponsor will get poor quality. ► Admen witli little film knowhow are sometimes placed in high authority at agencies, producers complain. This can result in exasperating and costly experiments while high-priced camera crews and talent stand around idle. How agencies reply to producer gripes ► Advertising business moves a lot faster than the usual pace of movie business, admen state. Sometimes, fast deadlines are necessary when a new television cam paign is breaking. Producers are compelled to adjust. ► Producer bids on film jobs sometimes have no rhyme or reason, some agencies complain. Even the most detailed storyboard can bring a dozen or so different bids from a dozen or so different producers, admen say. > Film' executives occasionally tend to make a "big mystery" out of the normal processes of tv film job, making it most difficult for admen to learn all the routine steps of commercial television film making. 8 FEBRUARY 1954 47