Sponsor (July-Dec 1955)

SOURCE: SPONSOR survey of leading agencymen, film distributors la Production quality: Don't be afraid to check closely on a producer or distributor's industry reputation. The successful veterans are proud to screen samples of series they've produced. Pilot films of yet-to-be-completed series aren't always a good guide. Producers sometimes overspend to get a good pilot, ease up on others. 9a Contract protections: Clients should check carefully as to the coverage they have against nuisance lawsuits, damage to film prints, and other questions of legal protection. With film costs on the rise today, clients should work out an equitable scale of "escalator clauses" in the event of union increases on new film shows. ■£■ Financial backing: Most large film distributors today have survived because they are well-financed. Still, always check the financial reliability of film program source. Some clients even require producers or distributors to post bonds. This will guarantee the delivery of a film series that's still in production. Wa Reruns of tv films: The film market is flooded today with rerun properties. Many have excellent ptdling power, however. But it's wise to look closely at ratings cited as "typical," whether the show originally ran on a network or in local syndication. Best bet : look at season averages for the nation, or for many markets. <$■ Distribution: Film is a fragile thing. In major non-network film deals, always check the syndicator's distribution and inspection facilities. Stations are notoriously "rough" on tv film. If prints are to be rotated between stations, it's best that they be returned to a central point for checkups for breaks, bad cutting. /■ Pricing: In the tv film field, prices vary widely between similar program series and comparable markets. Reruns generally cost less than brand-new, first-run shows. Don't use a low price as your main guide any more than you'd buy only on the basis of a tv rating. Look also at production quality, audience composition. •»■ Scheduling: Non-network lineups for a single advertiser of 75 stations or more are not uncommon. But, syndicators rarely give more than a dozen prints without extra charge. Be sure to allow enough staggering of starting dates so this amount of prints can be "bicycled" between stations. Extra prints can be costly. Oi Time contracts: In a multi-market film program deal, check closely on your contracts for time with local stations. Are you guaranteed a "make-good" in your regular time slot if your sbow is "bumped" for a special telecast? Do you have the proper rate protections? Advice of agency timebuyers can save you much grief. 2. What are the basic tips in making tv film commercials? SOURCE: SPONSOR survey of agencies, commercial producers, syndicators JLa Show talent: If you're making film commercials to be inserted in a multi-market syndicated film program series, check to see if star talent from the show is available to make commercials. Most film stars are. Costs are reasonable, since shooting is sandwiched into weekly schedule of producing syndicated film shows. 9a Scene timing: A common mistake in film commercials is to jam in too many short scenes with too many copy points. The reverse, leaving a scene on-screen so long it becomes static, also weakens impact, makes viewers fidget. There's no easy solution. It's best to evolve storyboards in conjunction with veteran producers. £m Audio vs. video: A good tv film commercial, many experts feel, should be capable of selling through audio portion alone. But don't make your commercial merely filmed radio "sell." Right balance is achieved when you have a good clear product story to tell orally and integrate your selling with proper demonstration. Ob Demonstration : Most effective film commercials, from a sales standpoint, are considered to be those built around smooth, sincere product demonstration. But beware of giving "demonstrator" an overly complicated task. It distracts from his or her sales ability even if done right, means expensive retakes if wrong. 3a Talent fees: Don't try to be a C. B. De Mille. Union charges for actor in commercials come high. Adroit storyboard planning can keep number of actors to functional minimum, perhaps even reduce human element to shots of hands, stock shots, clever vocal "sell." Use of music libraries can cut talent costs. # a Lip synchronization: Be sparing with "lip-sync." It means expensive processing and lab work. In demonstrations, you'll cut costs if you start a scene with lip-sync, then shift to a voiceover technique using closeup of hands in action, and then finish off with lip-sync. This also lowers your film talent fees. ■»■ Special effects: Go easy on the trick opticals. Memorability research (by Schwerin et al.) shows that the over-produced film commercial, replete with fancy splits, wipes, animation, is often pretty to watch, but lacks punch of many simple commercials. Ill' i ts should be used sparingly. Besides, they are often expensive. Oi Two-for-one shooting: If your tv campaign calls for both one minute announcements and station breaks, you'll save money if you plan your shooting carefully. Storyboards should be developed so that a 20-second or 30-second segment can be lifted intact out of the minute commercial. This avoids extra talent charges. IV Tips an buying film 1. What are the basic tips in buying syndicated film shows? 1 1 M BASICS i Pao* 5