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Spot tv
In- in others. I he big firms w lio lia\ e survived tlie earliest, blue-sk) days now control the I i < " i > share of the business. Hut man) firms in i hi field
are hanging on l>\ I In -kin of their teeth, or else are concentrating on some specialized field of programing i -pin i-. news, do-it-3 ourseH ) .
'.. Program tinn share: \t the local level, film programs (syndicated series and feature pa< ' ages I account foj no less than 30' of all the program hours, network and local, telecast l>\ tin average l\ outlet, according to the annual stud) b) N VRTB of t\ film programing (see "Film Basics." page 133).
4. Film pricing: With the market flooded with film properties, the price range of different film shows in the same market, or for the same film show in different markets, can he fantastic. \l the network level, a really good film show can command its production costs plus a profit to the producer I the half-hour average is around !>3.").()00l on the first run. In the largest markets, the price may run from $2,500 up to $5,000 weekly for the ton first-run film shows. Hut prices are often arrived at between distribu
tors and advertisers, or distributors
and station-. Ii\ sheer bargaining and
more often fall in the $250-8500 categor) .
Q. Are there any notable trends concerning time clearances for syndicated tv film shows?
A. I he general situation regarding spot l\ availabilities has been discussed earlier in this section (see page 64.) Hut there are some other angles that appl) particularl) to tv film -how-:
1. Scarcity oj nighttime slots: The networks are virtually sold out on most nights between 7:30 and 11:00 p.m.. Eastern time so there aren't many half-hour slots left on network affiliates for syndicated film shows at the local level in the East, Rockies and Pacific areas. In addition, a number of network shows {Today. Tonight, Morning Show, etc. ) operate in marginal time periods, cutting further into "film time." (See chart in '"Film Basics" section.) The late-night "film time" situation is somewhat heller in the Midwest, where network show lineups generally finish off at 10:00 p.m.,
an hour earlier than the Eastern ones.
Distributors, however, are fairly optimistic about the chances of clearing good time slots for tv film programs this fall. There are several reasons for this optimism. For one thing, stations make more money ( up to 70 'r of the advertiser's dollar! from a multi-market spot film deal, as compared to the station's "take" from a network show 130-40', of the card rate dollar I.
For another, stations in large twostation markets still bargain freely with the network-, relinquishing a time clearance onl) if thev can get something in return. Occasionally this "'something" will be a station's refusal to carry a network show so that it can air a film show locally. Pure Oil, for instance, cleared a spot film lineup earlier this year in which all of the 32 stations carrying its Badge 714 I Dragnet rerun | scheduled it between 7:00 p.m. and 10:30 p.m. in the peak \ iew ing hours.
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Film basics gives vital statistics
of $60 million film industry
See page 133.
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