Sponsor (Jan-Apr 1958)

-. bul \IU: and NBC, whose technicians are represented by the National Association of Broadcast Employeea and Technicians, are currently involved in negotiating these matters too. I ntil tliis is solved, advertisers and producers will not know just how much in tin wa\ of program costs they can figure on saving. While residuals for technicians are no matter for immediate concern (the unions are worried more almut job security), some fears have been expressed that if unions push any featherbedding demauds, these could turn out to be real headaches. Residuals for technicians were never pulled off by the film unions and. even though there is no likelihood of their being adopted in tv, the mere talk of it gives networks and producers the shudders. Also hanging in midair is the question of jurisdiction between AFTRA and SAG. AFTRA efforts to set up a joint authority with SAG over taped commercials fell through early this month, nearly two years after SAG's rejection of a merger with AFTRA. With the outlook for clear-cut jurisdiction dim, the situation appears firming up as follows: Where a program or commercial is taped from a live show or pre-recorded in a broadcasting studio, the jurisdiction will fall within AFTRA's domain, as well as that of IBEW and NABET. Where the job is done by a film firm, it will be covered by SAG and IATSE. Opinions as to how fast commercials on tape will get off the ground differ. A number of taped commercials already have been shown on the network. Charles Powers, in charge of commercial production for McCann-Erickson on the West Coast, reports that 30% of Studio One commercials have been on tape since the show moved to Burbank in January. While there has been some added cost for tape, Powers said, he has been able to use tv recordings without an increase in the budget. The added cost is for tape facilities — $500 an hour of actual use — plus the cost of a studio and crew (in taping, the studio is not shared with the show) . One way of keeping the cost down, said Powers, is to shoot two weeks of commercials in a single day. The saving here is about 40% of added costs per commercial. Powers admits the 40% saving is theoretical because "having time you do things a little more perfectly. The actual saving thus comes closer to 15%." Commercials first? A number of people feel that in the beginning taped commercials will see more use than taped programing. Jack Burrell, manager of technical opera Fape will be competitive «iili live commercials rather than film, says Bill linger of Elliot, Linger and Elliot, one ol \< i"ork firms using the method. Firm has spent $100,000 so far on equipment, which includes rei order, camera chain. But that's only the bare minimum, he says tions for NBC in Burbank, reports that the demand for tape machines in netxvork repeats will limit their use for other purposes. But, he said, the instantaneous playback abilities of tape, will cause a heavy demand for the recorders to produce commercials when they are available. Next step, according to Burrell: recording weekend pro. graming during the week. Murray Bolen of B&B's West Coast office foresees 2% of program production and 20% of commercial production on tape by this time next year. The 20% figure includes replays. He has advised two clients interested in taped commercials, however, not to get mixed up in it until the union picture gets clearer. Besides the Studio One commercials, taped plugs on CBS include an AllState commercial on Playhouse 90 and a few done on Art Linkletter's Houseparty for daytime airing. A big factor in taping commercials now is convenience, said Guy della Cioppa, director of CBS networks shows in Hollywood. Linkletter, for example, had his commercials taped so he could go to the Brussels Fair. As for outside commercial firms, there appears more interest in the East than the West. Two studios in New York with Ampex equipment on hand are Telestudios and Elliot, Unger and Elliot. George Gould, president of Telestudios, said his Ampex recorder was available for immediate use by agencies, sponsors and package producers. He estimates that tape can save about 40% in the production of commercials. Telestudios plans to hold a series of workships to familiarize admen and producers with tape techniques. In the program area, Gould said that he was negotiating with two producers for taped program series, one of them being a soap opera. Bill Unger of Elliot, Unger and Elliot, made clear his belief that tape will not be in competition with film but with live commercials. "Tape cannot do everything," he said. "Outdoor shooting with tape is not practical. I'll bet a western shot with tape will cost five times what it cost on film. On the other hand, tape is ideal for a pilot on a live tv show." Unger felt sure that a substantial number of his firm's clients could reduce commercial costs by shooting on tape. He warned against over-simplifying the cost picture, however. 26 April 1958