Sponsor (May-Aug 1958)

ALASKA'S POTENTIAL i Cont'd from page 38 I nil resources (oil deposits are second largest in the world) will begin to l>e developed on a major scale. Climaticall) the heavilj populated regions compare *\ith our Pacific Northwest, in demand for cold, warm weather items. \\ hat problems docs a manufacturer lace in entering or enlarging lii \la — kan market? Most!) geographical. Its a long trip from Seattle, and while the Uaskan highway is better than it used to be, it's still not satisfactory for an\ significant volume of freight. The al ternatives are air and sea shipping, both expensive. There is reason to believe that the growing population will increase con petition among carriers, reduce prices. Distribution is not a severe problem because of population concentration, and relativelv few wholesalers and distributors. Many advertisers are now in the market, including Procter & Gamble, Colgate. R. J. Reynolds, American Tobacco and Kool-Aid. A suggestion: reps can be valuable in helping set-up distribution and suggesting campaign appeals. ^ Sell to FARMERS? m wicwm ■^iimBi HERE'S YOUR NCS #2 KWFT COVERAGE No. of Counties 77 Total Radio Homes 340,083 Monthly Coverage 124,430 Weekly Coverage 108,300 Weekly Circulation 108,120 Daily Circulation 72,630 KWFT PENE NO. OF FARM TRATION COUNTIES POP.* 40%100% 24 78,403 20% 39% 23 87,600 10% 19% 27 88,000 5% 9% 3 22,000 TOTAL 77 276,000 KWFT PENE NO. OF GROSS FARr\ TRATION FARMS # INCOME* 40%100% 21,440 $166,934,000 20% 39% 25,483 128,927,003 10% 19% 25,224 171,936,000 5,878 23,677,000 TOTAL 78,025 491,474,003 Source 1958 SRDS Consumer Mkts. ^Source: 1954 U. S. Census of Ag. HERE'S YOUR MARKET 78,025 FARMS WITH 200 NEW MILLIONS TO SPEND Just harvested: one of this area's BIGGES 1 WHEAT CROPS IN HISTORY, plus bumper oat and barley crops. total value: $200 million in KWFT's NCS #2 area of Texas and Oklahoma! HERE'S YOUR MAN KWFT FARM -Service Director EARL SARGENT — this area's ONLY full-time farm radio newsman! CALL YOUR H-R MAN STORYBOARD I Cont'd from page 35 ) Film producers have strong opinions on this aspect of the subject, too. Most of them feel that the more literal the age;ir\ storyboard, the less opportunit\ to offer creative production. A somewhat sketchy agency board may fire the imagination of some skilled member of the producer's staff to a creative touch which lifts the finished film from the ordinary to the outstanding. This certainly is to the benefit of the client, but it isn't possible if the producer is bound to reproduce exactly on film what has been drawn on a storyboard. right down to the polka dot tie on the actor and the design of the paper on the wall. Recognizing weaknesses in the standard storyboard technique, agencies and producers have experimented with various plans for improvement — strip film, extremely limited animation and workshop live action, combinations of still shots I often by polaroid camera I and pencil test animation, flip boards and accordion strips I to keep the client from looking ahead on the board I. One thing nobody has really figured out completely so far is how to show optical effects on storyboards. Colored lines with arrows and motion markings still leave a lot for the layman to imagine. Yet a single optical can sometimes be tremendously important to the effectiveness of a commercial. Moreover, a good film idea can founder in a storm of argument over an optical technicality in the storyboard. This is particularly true when, as in a current bestseller, Parkinson's Law of Triviality is invoked during the meeting. Still another bugaboo is the placement of video instructions and audio wording on boards. Most agencies favor the panel directly below the applicable picture, reading left to right from frame to frame. But there would seem to be some validity in the minority view that this forces an eye jump in visualizing the board. Maybe part of the answer to the problem of getting the most out of storyboards is to stay flexible. By avoiding any marriage to a formula, we can match the individual job with the technique of presentation. All clients are not alike, and happily, neither are commercials. There's more than one wav to board a story. ^ 19 JULY 1958