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Script conference: Writers Supple, Loveaire (I. to r.) discuss Filming: Albright filmed Actress Fesette against plain backdrop,
"living" storyboard with V.P. Dennis and Production Head Albright improved girl's handling of the product for filming of commercial
Processing: Sound technician Ayres (I.), Albright edited film to include inserts, such as product closeups to fill frame for continuity
Screening: Dennis, Albright (standing), test storyboard on DCSS's Ireland, Loveaire, Glenn (I. to r.) before going into production
before going into actual production.
The DCSS tv and radio department has taken the "living" storyboard one step further, using it as a substitute for the artist's storyboard. One advantage of the technique according to Rod Albright. DCSS supervisor of tvradio production, is reduction of differences in interpretation.
"The best way to get a client to visualize his finished commercial." says Albright, "is to show him the action on film. We've found a way of producing such film storyboards for roughly the same price as an artists storyboard."
The fir-t commercial for which DCSS produced a "living" storyboard was a film demonstration of International Laytex Corp. s Plavtex Haircutter. This minute film storvboard cost some $200 — or, about the same amount DCSS expected to spend on a
storyboard that was drawn.
Here's how DCSS made the film rough of the Playtex Haircutter commercial :
1. Frank Dennis, v. p. in charge of tv and radio copy, gave Albright the commercial script. This script was no more nor less detailed than the usual script, which is given to storyboard artists.
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2. Albright then went to Kin-OLux Film Co., photographic laboratories, and rented a 16 mm. sound camera at $20 an hour. This camera rental fee included the services of a soundman. Albright shot the film himself, since he was mo:t familiar with
the copy ideas and the story.
3. DCSS also rented a studio at $50 for one afternoon. I However, since film storyboards don't recpjire settings or fancy props, some agencies have done the shooting right in their own offices. I
The talent fee for actors depends, of course, upon the arrangement between the agency and the individual actors involved. Since the film storyboard is not to be used on the air, these payments fall outside SAG regulations. In the case of the Pla\tc\ Haircutter film. DCSS paid the actress, Doris Fesette. S35 because Albright took up her entire afternoon to shoot two one-minute films.
The entire cost of the film stock was
$25. There are 36 feet of film to 60
seconds of 16 mm. film. Albright
shot about 500 feet at a cost of 5c
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29 NOVEMBER 1954
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