Sponsor (Jan-June 1956)

DIARY OF A TV COMMERCIAL CONT D 28 June Scripts and story-boards find their way back to the desk of Bernie Haber at BBDO, who is now responsible for follow-through. The same day As soon as mimeographed scripts are available, a set is sent to at least three production companies who. according to Haber 's experience, are qualified to handle the job. They are invited to submit bids. An additional set is sent to Raymond Scott to permit him to prepare a cost estimate for the musk1. 30 June Haber receives cost estimates (bids) from the producers and he calls Traviesas, giving him the figures and recommending that Screen Gems be selected. His past work with that company convinces him that, in this particular case, Screen Gems will be the ideal producer. Traviesas now call? the client's ad department, informs them of the bids and of Haber's recommendation concerning Screen Gems. He is told that the selection is satisfactory to the client. Haber calls Ben Berenberg, executive producer at Screen Gems, tells him the job is his and arranges a meeting for the next day. 1 July Haber and Berenberg look over the scripts and story-boards. After some two hours of this. Berenberg and Haber are satisfied that they see eye to eye on all questions involved and Berenberg retains the scripts and story-boards for breakdown. 2 July The budget department of Screen Gems has broken down and itemized everything involved in the production of the six commercials and returns the budgets together with scripts and story-boards to Berenberg. who after a final check sends them to the agency for okay. 6 July I After a long holiday weekend I Screen Gems and BBDO sign a contract, under the terms of which Screen Gems as the producing company agrees to deliver six completed one-minute commercials, plus two 30second versions for a specified sum. (Lucky Strike commercials have cost as little as $3,000 and as much as $20,000 each.) (Please turn to page 89) A GLOSSARY ASST. DIRECTOR A combination of assistant to the director and representative of the production manager on the set. BARNDOOR Metal shades, which can be attached to spot lights. A sma.l camera-boom on wheels. BUMP Covering for the camera to eliminate noises of the camera motor. CAMERA CREW A "full crew" consists of Director of Photography, Camera Operator, Assistant and 2nd Assistant Cameraman. For commercials the Director of Photography and the 2nd Assistant can be eliminated. CANNED MUSIC Music which was recorded at some previous time (for tv usually in foreign countries, to avoid the Petrillo percentage payments) and which is used as background music in tv films and commercials. CLAP-BOARD A slate with a clap-stick, used in scenes requiring synchronized sound (see slate I . DISSOLVE Gradual change from scene to scene via a momentary double-exposure. Usually indicates a time-lapse. DOLLY A small camera boom on wheels. DOUBLE SYSTEM Picture and sound are recorded simultaneously on two separate films, (or film and tape), which run through electrically interlocked machines in perfect synchronization of lip movement and voice. DUBBING In standard production, dubbing refers to the operation of combining dialogue, narration, music effects tracks and loops into one final sound-track. (Dubbing is also the name for making foreign language versions of American films, or vice versa.) DUPE NEGATIVE A duplicate of the original negative. EDITORIAL CREW The Film Editor I who does not like to be referred to as the cutter) who may work alone or with an assistant. In cases of extensive productions there are also Music Editors, Sound Effects I Sound FX ) Editors; The negative is cut by a Negative Cutter. ELECTRICAL CREW A Gaffer, who supervises the lighting is all that is needed for commercials. When larger sets require more men, there is the Best Boy who in turn is in charge of the Lamp Operators. FADE Gradual change from black to scene (fade-in or from scene to black (fade-out).