blevisionage - radio and broadcast history library with …€¦ · idaho television station. and...

OCTOBER lO, 1966; FIFTY CENTS

blevisionAgesing costs in commercials: a projection of labor demands)w to open that production shop you've always wantedthe agency tv producer a thing of the past?

PAGE 35

PAGE 38

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1

FRANK WORTHAward winning film directorreturns to the U.S.A. for com-mercial production with THETVA GROUP on October 25...See his international reel.

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cvision Age, October 10, 1966

WHERE IN THE WORLIWILL YOU EVER AGAD

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An imposing array of great titles...FOR WHOM THE BELL TOLLS THE LOST WEEKEND OSSCONNECTICUT YANKEE IN KING ARTHUR'S COURTGOING MY WAY REAP THE WILD WIND UNCONQUEREDTHE HEIRESS HOLIDAY INN STATE OF THE UNIONLIVES OF A BENGAL LANCER WAKE ISLANDDOUBLE INDEMNITY THE GHOST BREAKERS SO EVIL MY LOVE

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TelevisionAge

VOL. XIV

PublisherS. J. Paul

Editorial DirectorDick Donnelly

Managing EditorDon Dunn

Associate EditorsEd Dowling

Henry NeigerMarilyn Cohen

Financial EditorT. A. Wise

AdvertisingNorman Berkowitz

Advertising DirectorMort Miller

Advertising ManagerMarguerite Blaise

Sales Service DirectorLee Sheridan

Production DirectorFred Lounsbury

Circulation DirectorEvan Phoutrides

Readers' Service Dept.Joanne RoskindBusiness Office

Miriam Silverman

Branch OfficesMidwest

Paul Blakemore, Jr.3120 St. John Road

Des Moines, Iowa 277-2660

SouthHerbert Martin

Box 3233ABirmingham, Ala. 35205

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United KingdomF. A. Smyth & Assoc.

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t

Member of Business PublicationsAudit of Circulations, Inc.

B PATELEVISION ACE is published every other

Monday by the Television Editorial Corp.

Editorial, advertising and circulation office:

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Canada: $7; elsewhere: $15. © TelevisionEditorial Corp. 1966. The entire contentsof TELEVISION AGE are protected by copy'

right in the U.S. and in all countriessignatory to the Bern Convention and to

the Pan-American Convention.

10Television Age, October 10, 1966

Et tu, HelianthusThe ubiquitous sunflower (Helianthus annuus) may be our state's official symbol, but the real flowerof Kansas is Topeka!

For Topeka reigns over the most generous chunk of the BIG Kansas market-two million peoplewith prime spending power and a thirst for everything moderns buy.And only WIBW delivers the vast Topeka Market! You're IN whenyou're ON WIBW Radio, "The Voice of Kansas" - most -heard signalin 45 of Kansas' top counties. On the TV side, WIBW's influence inthe $342 million northeastern Kansas market is unmatched, themarket's isolation is well defined ... in fact, many viewers never seeanother signal.

BTV RADIO FMTopeka, KansasLet Avery-Knodel translate it for you. Or call 913-CRestwood 2-3456. Broadcast Services of Stauffer Publications

'Vision :i¡;c, 01 toiler 10, 1966

I I

111

The Embassy of DenmarkHis Excellency Torben R 5nne, Ambassadorof Denmark, with Mrs. Ronne, in thedining room of the Embassy ... another in theWTOP-TV series on the Washington diplomatic scene.

WTOP-TVWASHINGTON, D. C.

Represented by TvARA P O S T- N E W S W E E K STATION

-r

Photograph by Fred Maroon

Letter from the Publisher,y

NI..;

MAKINGNEWS. .with thenews!COLOR NEWS ... TheArea's First and ONLY

Local, Live - NewsWeather and Sports!Sunday thru Friday

10:00 - 10:30 P.M.

rc')l.ORCOLOR r'Cfl OR COI OP

The FULL COLOR Station, TV -23BIG FOR IT'S AGE . . .

AND GETTINGBIGGER !

(Air Date: September, 1965)k;OLORCOLORs. +, +ORCÓLOR

Competitively PricedSee Meeker Representative

4:11»Rockford - Freeport, Illinois

14

I in portant, Growing More So

Some 38 million people watch local late news on tele-vision. This is more than five times the total combined cir-culation of Time, Newsweek and U. S. News & WorldReport. The audience is equal to the viewers watchingHuntley-Brinkly, Walter Cronkite and Peter Jennings com-bined. These figures, cited by NBC President Julian Good-man before the Radio And Television News Directors Asso-ciation meeting held in Chicago recently, again emphasize atruism of broadcast news-regardless of the technologicaladvances, satellite communications and earth -shaking worldevents-the public will always be interested in what goeson locally.

As Bill Small, Washington Manager of CBS News, point-ed out in a key -note address to the RTNDA, "the growth ofcompetent professional news information in broadcastinghas been little short of sensational. The smallest local station does not hesitate to attempt documentaries in a styleonce reserved for an NBC White Paper or CBS Reports.

"Daily coverage," he continued, "in many cities is notjust quick and competent; it is providing civic protectionagainst vested interests against which newspapers, in this eraof diminishing competition, do less and less."

In addition to filling a function that newspapers haverelinquished, it follows that the station that does the bestlocal news job earns the recognition of leadership in its mar-ket-despite the ups and downs in network programming.

Permanent Office Needed

At the same time, the news director has become an increas-ingly important part of the station management team. The

news director's importance is reflected somewhat by thegrowth of the RTNDA, which now numbers one thousand

members, and has just concluded its 21st annual meeting.However, as Julian Goodman points out, the RTNDAshould have a permanent office and staff working all year'round, insuring continuing exchange of information and

ideas. The Association should parallel in importance the

American Society of Newspaper Editors, which speaks with

authority for the editors in the nation.

Cordially.

Television Age, October 10,

Guaranteed by ITC:« e s ices -dubbed,quality feature film package

ever offered to television:

TheWeLuxe'Twenty

INDEPENDENT TELEVISION CORPORATION555 Madison Avenue, New York, N. Y. 10022 PL 5-2100

at to- orp.Norfolk, Va.

Rsearch Rebellion

tour Letter From the PublisherInthe August 1st issue just about"l omizes the incredibly unsophisti-,'0d attitude that pervades the en -ti broadcast/advertising industry'n -natters relating to research.

'ou are (and entirely in tune with

Mail to: TELEVISION AGECirculation Department1270 Avenue of the AmericasNew York, New York 10020

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vision Age, October 10, 196627

Ie SBIGGER !

(Air Date: September, 1965)

,..OLOkt..,OLUKCompetitively Priced

See Meeker Representative

Rockford - Freeport, Illinois

CAPTAIN FROMIn the terror -filled daysof the Spanish Inquisition,one man's couragedetermines the fate ofan empire.

Running Time:96 minutesRelease Date:1966

Guaranteed by ITC: "The best American -quality feature film package ever offered to to

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KILL AND BE KILLEDTheir plan for murderturns two people's loveto suspicion and hate.


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1.1Teletisitin Iletfober 10. 1066 1!

au to- orp.Norfolk, V a.

Iesearch RebellionYour Letter 1 rum the Publisherthe August 1st issue just about

pitomizes the incredibly unsophisti-Ated attitude that pervades the en -I e broadcast/advertising industrymatters relating to research.

You are (and entirely in tune with

TWO SPIESFrom Las Vegasto San Franciscoto New Yorkin pursuit of atop-secret weapon.


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MASSACREAT MARBLEIndian tribes join forcesin an attack to defendtheir lands againstgold -greedyprospectors.


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itelevision Age, October 10, 1066

:

27

I '

rr

MUTINYIN THE SOUTH SEASWar and piracyinvade the quietwaters of a South SeaIsland paradise.


INDEPENDENT TELEVISION CORPO555 Madison Avenue, New York, N. Y. 10022 PL 5.2100 I

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VIVA JUANITO!Panic in the streetsas revolution sweepsthrough a South Americancountry.


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BIGGER !(Air Date: September, 1965)

...:OLORLOLUkt.01.01( COLORCompetitively Priced

See Meeker Representative


-round. insuring continuing exchange of information and

ideas. The Association should parallel in importance the

American Society of Newspaper Editors. which speaks with


Cordially.

44a

jTeletiNiim :Igoe, Iletfilier 10, 1946 i

14

II ylk I I (.rttp.\,,rtolk. I rt.

tesearch Rebellion

Your I.,11,1- From The Publisherthe Atc2o-t 1st issue just about

pitotnizes Hm incredibly unsophisti-ated attitude that pervades the en -re broadcast/advertising industrymatters relating to research.

You are (and entirely in tune with

FORMULA CI-12111174IRTerror and intriguein modern Beirut asan unknown force seeksto destroy the city.


The'Deluxe'Twenty

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BLACK EAGLEOF SANTA F174Bloodshed and warfareinvade a peacefulterritory as theComanches aregoaded to attack.

Running Time86 minutesRelease Date:1966

Guaranteed by 10:411:The best American -dubbed,quality feature film package ever offered to television

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Subscription Rates in the UnitedStates and Canada; 1 yearS7.00; 2 years $10.00. Subscrip-tion rates for all other countries

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i...derision Age, ()ember 10, 1%6

AFFAIR AT ISCHIA I

A devil-may-care adventurerencounters excitementand romance onthe beautifulBay of Naples.


TheiDeLuA'Tweni

Guaranteed by ITC: "The best American -dlquality feature film package ever offered to telti

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THE MANCALLED GRINGOAction -packed dramaas a fast- shootingstranger rides intotown to unravel atwenty year mystery.


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BIGGER !(Air Date: September, 1965)



*round. insuring continuing exchange of information andideas. The Association should parallel in importance theAmerican Society of Newspaper Editors. which speaks with


Cordially

I

Television Age. October 10, 1966

co,

II T (.,a,(,.

\orlon,. I ti.

tesearch Rebellion

You! /.,//,./- hot)/ /he Puldishert the Nuyu.t 1st isue just aboutpitotuif,- the inctedilok unsophisti-Med attitude that pervades the en -ire broadcast/advertising industryI matters relating to research.You are (and entirely in tune with

rI

II

to

NI

THE SAND RUNS REDA map of an ancientking's tomb in Greeceleads to treachery,violence and murder.


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STRANGLEROF ME TOWERFrantically,the police search for anunknown assassinand a fabulous,legendary emerald.


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'elevision Age, ()ember 10, l%4

TITLE

Modern, FreshProductions...16 produced in 1966 and the balance1965-1963 for worldwide theatrical-elease

15 In Magnificent Color...capturing the full flavor of the on -location sites and stunning sets.

12 Co -Productions...with the most creative moviemakein Europe and ITC exercising the ap-proval of script, cast and director.

Impeccably Dubbed in New York, under ITC's direct, con-tinuing supervision, by the world'sleading specialist in dubbing feature'films for American theatrical release.

I. Kiss Kiss. Kill Kill

2. The Last Tomahawk

3. The Balearic Caper

4. James Tont:Operation Goldsinger

5. Massacre At Marble City

6. Captain From Toledo

7. Serenade For Two Spies

8. Kill And Be Killed BUW

9. Black Eagle Of Santa Fe

COLOR RUNNING RELEA!ORB W I TIME YEAR

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10. Formula C-12/Beirut

11. Viva Juanito!

12. Mutiny In The South Seas

13. The Devil's Choice

14. The Man Called Gringo

Color

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15. Blueprint For A Million BUW

16. Legend Of A Gunfighter

17. The Sand Runs Red

18. Murder By Proxy

19. Affair At Ischia

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(Air Date: September, 1965)V. v


'round. insuring cominning exchange of information andideas. The Association should parallel in importance the

American Society of Newspaper Editors. which speaks with

authority for the editor, in the nation.

Cordiall.


14 ili'/' ',',.", 1::, ,) toher 10. 1066

Lettersto theEditor

Decimal Point

Playing the numbers game can betery dangerous, and I was startledo read that our market had gone up103 per cent in local business this)ast year as reported in page 33 oftour August 15 issue. Even your owntnalysis shows only a 10.3 -per -centncrease. (it misplaced decimal, of!ourse, produced the eye-opening fig -ire. Ed.]

Frankly, blanket percentages andilanket statements are so misleadinghat each market has to be verycarefully scrutinized to understandvhat the various percentages indi-ate, and as I have discussed withnany of the other stations, nationalpot certainly is subject to greatluctuations from market to market,specially in the last 12-15 months.

For those who don't realize it, weire definitely in a different area ofrational spot, and there are some'ery serious problems connected witht.

ARTHUR M. SWIFT

Executive Vice President,General Manager

WDAD-TV

Moline, Ill.

Unary Manner

Congratulations on a very worth-ihile contribution to broadcastingrith your Military Millions story inhe August 29 issue.

JAMES W. EVANS

Director, Audience& Sales Promotion

WTAR Radio -TV Corp.Norfolk, Va.

tesearch Rebellion

Your Letter From the Publisherthe August 1st issue just about

pitomizes the incredibly unsophisti-ated attitude that pervades the en -ire broadcast/advertising industryIt matters relating to research.You are (and entirely in tune with

the broadcasting industry) perpe-trating the childlike whine that thebroadcasters are paying for researchwhile the design shots are beingcalled by the agencies and adver-tisers. Then you go on to say stationresearch expenditures have gonefrom $3 million to $8 million infive years. Big deal! First of all.where do you think the broadcastersgot that $8 million from in the firstplace? Well I'll tell you, since every-body seems to be too dim to recog-nize the fact: FROM THE ADVER-TISERS-just like the $1.67 billionthat came from them to tv broad-casters in 1965.

And the industry complains abouta lousy one-half of one percent ofits gross revenues going into re-search? Have you any idea how thiscompares to most major industriesin the nation? It's pathetic! Mostindustries (manufacturing, chemical,textile etc.) will spend more in onesear than broadcasting in five.

Anyone who is investing over $11/2billion dollars a year in an industryhas a perfect right to call designshots and it's an effrontery of therudest nature to imply that theyhaven't. What's more. a good adver-tising agency is eminently morequalified to assess research valuesthan most broadcasters. How manybroadcasters employ personnel withgood marketinc, research or statisticaldegrees? Hardly any.

How can anyone in his right mindimagine that slt million a year isenough to mea:-ure well over 500stations, each one of which broad-

casts over an average of 18 hoursa day; to a potential 541/4 millionhomes, accounting for more than 120million people, and to get this databy average quarter hour estimatesin any one of more than 3,000 coun-ties? For a national industry whosefunctional premise is communicationit's amazing that you feel $8 millionis enough. let alone moan about it!

As I mentioned before, the agen-cies (and advertisers) have easilythe most qualified people available(outside the research companiesthemselves) to assess the differencebetween good, bad or indifferent re-search and "to call the shots" ac-cordingly. But, while it's entirelypossible they may feel it's not theirresponsibility, I believe they are sad-ly lacking in not attempting to relatetheir thinking and reasoning to thebroadcasting segment of the industryinstead of dumping this chore on thebacks of the research companiesthemselves. In other words, theyshould recognize their own groundrules and communicate directly.

I do not envy the research com-panies one little bit. They make no-where near the profit the industrythey serve makes (though they aremore responsible for it than anyother single industry function withthe possible exception of electricity) ;they are bludgeoned and attacked byall, defended by none and I can onlyconclude they must be a strangebreed to take so much nonsense forso long.

NAME WITHHELD

Los Angeles, Cal.

SUBSCRIPTION SERVICEPLEASE INCLUDE A TELEVISION AGE ADDRESS LABEL TO INSUREPROMPT SERVICE WHEN YOU WRITE US ABOUT YOUR SUBSCRIPTION.




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television Age, October 10, 1966

for the quick reliefof uninspired,non -creative,idea -less

video tape commercialproductionTAKE TELE-TAPE!

TELE-TAPE PRODUCTIONS234 WEST 44th STREET, NEW YORK, N. Y. 10036, 212 OX 5-0910135 SOUTH LA SALLE STREET, CHICAGO, ILL. 60603, 312 332-2718

WHAT'S AHEAD BEHIND THE SCENES Tele-scopeWesterner Moving East?

New )(irk commercials -making business these daysseemingly i lucrative enough to have sparked a reportthat a major Hollywood production company is consider-ing opening a studio to get in on the business. And Film -

ways. which had thought of reopening its big plant inupper Manhattan for commercials work, changed its planswhen Screen Gems needed the space for Hawk, theABC-TV series.

Putting the ADI into DollarsTo aid media men hogged down in the details of the

new ARB marketing concept based on the "Area ofDominant Influence." RKO General Broadcasting is rush-ing out a slide -rule calculator that can be used to trans-form the ADI percentages into actual numbers of men.women, children. etc. Frank Boehm. research director atRKO General. believes the tool will be widely used tocompute cost -per -thousands for the ADI.

Who Needs Cigarettes?I14m has the loss of cigarette advertising revenue af-

fected the profits of British program concerns? Verylittle, it appears. One company, Westward Television,recently reported a 12 per cent increase in advertising in-come for its fiscal year. despite a seven per cent drop incigarette money. Westward reported that profits beforetaxes amounted to £384,919; profits in the previous fis-cal y ear %%ere 1293.803.

Kyrios Kangaroo? Kapitan Kangaroo?After Captain kangaroo, -nccessful production of two

weeks of the daily show in Holland. Bob Keeshan andhis staff are considering doing another fortnight of pro-duction abroad next spring. Among the possibilities:Greece. the Soviet Union. Negotiations are now under-way u ith diplomatic and tv representatives from thosecountries. Mr. Keeshan's plan is to make the overseasvisit of Kangaroo part of an exchange agreement, witha leading Greek or Russian children's entertainer doinga fortnight on CBS -TV.

New Yorkers Lack Natural Interest In CATVMost of the unknowns in launching a community

antenna television system in a dense metropolitan areaare technical and physical. However. TelePrompterCorp.. now in the process of hooking up a possible 400.-000 duelling units in north Manhattan. is running intounexpected trouble with New Yorkers' famed aloofnessand hostility toward strangers. According to Irving B.Kahn. board chairman and president, the toughest prob-lem to date has been "getting in that door. Many peoplethink we're trying to sell sets or rooftop antennas, anddon't really understand what a CATV system is." Thecompany. however. is holding back on a big promotion

campaign until most of the cables are laid and theservice can begin on a big scale.

There's Still Gold in Prime TimeDespite oft -repeated assertions by Hollywood tv series

producers that it's tough to make a profit with a net-% ork series unless it runs more than two seasons, there'smoney even in shorter runs for studios set up to run"mass" production. Screen Gems, with five shows nowon network, hit its biggest sales year in the 12 monthsended last June. with record profits of $5,211,000, onsales of $87,387,000. Profit for the previous fiscal yearwas $4.691.000 on sales of $66.966.000. Importantrevenues are syndication sales, especially overseas, andthe East Coast and West Coast commercials -making op-eration, EUE/Screen Gems, which may account formore than 10 per cent of the Columbia subsidiary'sgrosses.

Op Goes Pub for LabCoastal Film Service is expected to go public later

this fall, to obtain financing for the development ofextensive color laboratory facilities. Last year Opticalacquired a black -and -white laboratory, Technical FilmLabs, Inc. The stock issue is intended to provide fundsfor, among other things, over half -million dollars worthof color equipment. Both Technical and Coastal FilmService will become divisions of Coastal Film Industries,with further diversification and acquisition anticipated.

New Sport for Closed Circuit TvConnoisseurs in the U.S., of certain "off -beat" foreign

sports may soon be able to see the major eventslive over closed circuit tv by satellite from Europe,similar to the manner in which various boxing matcheshave been transmitted. A major communications firm isnow negotiating for U.S. tv rights and satellite clearance,for trans -Atlantic transmissions of the contests.

Plugging the Early Show GapVariety shows in first run syndication are doing well,

unless they're bound to a rock-a -go-go format. and sta-tions are taking them to fill late afternoon slots formerlyfilled by movies. Now that the movie supply is shrink-ing, stations are buying such shows as WBC Productions'Mike Douglas Show, available in 60- and 90 -minutelengths. The daytime series hit its biggest lineup lastmonth. with the tapes going out to 117 stations.

Little pitcher with A Big EarIn the works at one of the larger tv commercials studios

is a sound camera capable of picking up sound selec-tively at 1,000 feet, with no cables or radiomicrophonesor parabolic microphones to reach that range. The de-velopment will, among other things, reduce the costand complexity of location shooting.

television Age, October 10, 196629

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Quality LaboratorySpecial Equipment Designed for Commercial Production

THESE ARE SOME OF OUR CLIENTS:Leo Burnett J. Walter Thompson Grant Advertising

Campbell-Mithun Clinton E. Frank D'Arcy Tatham -Laird

Perrin & Associates Henderson Batten, Barton,

Durstine & Osborn Foote Cone & Belding Bloom

Advertising Knox Reeves MacManus, John & Adams

lilienfeld Geyer, Morey & Ballard Cramer-Krasselt.

UNITED AIR LINESAMERICAN BAKERIES COMPANY KELLOGG COMPANY

Business barometerThud again. The word, indicating a sudden, deflating bottoming -out, appeared here

when spot business for May climbed only 3.5 per cent above the figure for

May '65. Now, after a healthier gain in June,

Business Barometer's sampling of stations NATIONAL SPOTacross the country reveals that spot business

in July was up only 3.2 per cent over the same

month last year. That minuscule increase was the

smallest for July since 1961, the smallest of

any month in 1966 so far.

In estimated dollars, the slight gain nudged the July

'65 total of $55 million in spot time sales up

to $56.8 million. The gain appeared to be

primarily to the benefit of the nation's larger

stations, however, as they reported an increase

of 5.2 per cent in their business. Stations

doing under $1 million in annual revenue

registered a gain below the average, while

outlets in the middle category actually

reported a drop in spot activity, as theyhad in May.

Comparing July to June immediately preceding, the

traditional "summer slump" showed up vividly

as spot volume declined 12.2 per cent. This drop

was about average for the month; over the last

few years, it was 11.3, 10, 10.9 and 16.1

per cent.

But that year-to-year figure of 3.2 per cent certainly

can't be considered average by any stretch of

the imagination. The similar gain, July '65

over '64, was 21.7 per cent; the year before,

it was 9.2 per cent; before that, 18.3 per cent,

and in July '62 over '61, it was 20.1 per cent.

During the recession year of 1960, July spot

activity was off almost seven per cent from

its predecessor, and a year later it was up

only .06 per cent. But, it was thought those

days were gone forever-particularly when theeconomy this July was continuing to turn in

a highly impressive performance and the

country seemed a long way from a full-scalerecession.

85

80

75

70

65

60

55

millions of dollars

$56.8$55.0

July ( up 3.2%)

Year-to-year changesby annual station revenue

Station size Spot tv

Under SI million.51-3 millionS3 million up

2.3%-0.6%

5.2%

/ tl fuf f

1966-'65 corn par isonNext issue: a report, and a brighter one, on local activity in July, plus stationrevenue via network compensation.

I)

(A copyrighted feature of TELEVISION AGE. Rosiness nOrOnleier is based on a cross-section of stations in all income and geographical categories.Information is tabulated by Dun & Rradstreet.)

Television Age, October 10, 196631

Art Director Tony Zographoswas given just two days to createan off -beat story board for a colorcommercial to be shot on film.

It will takeweeks tocomplete.Too bad he didn't shoot it atVideotape Center. It wouldhave made a better commercial.He could have used some of thoseweeks to create his story board.Then watched it happen instantly.

Is that askingtoo much?Not from us.Videotape Centermakes video tapemake sense as acreative mediumfor televisioncommercials.VIDEOTAPE CENTER

101 W. 67 St. New York, N.Y 10023(212) TR 3.5800

1

32 Television Age, October 10, 1966

THE WAY I I HAPPENED

In -and OutIf there's anything more challeng-

ing to a network salesman than amulti -billion -dollar corporation thatwon't take a plunge into tv, there'snothing more discouraging to himthan to have such a holdout finally;et its toes wet in the medium andhen pull them out.

That's what seems to have hap-,1ened with International BusinessVlach i nes.

Last year the $3.6 -billion corpora -ion, after holding out throughouthe history of tv. finally plunked

, Lawn $4-5 million to sponsor a num-)er of CBS Reports and a TownMeeting of the World. The company

round up sponsoring 14 of the 15locumentary hours it had signed upor (it pulled out of a CBS Reportsin the indebtedness of Americans. a'object that may have seemed touchy

1

o many of IBM's business custom -41). But. when the end of the sea -

ton rolled around, IBM failed to re-sew for the following season, andgave no signs of immediate interestn continued use of tv.

tumors Disproved. Rumor had ithat IBM was disappointed with theesults of its venture into tv. andcould rely more heavily in the futurein the usual vehicles for its corpo-ate advertising: class magazines andsews magazines.

Yet when TELEVISION AGE checkedi cith IBM marketing and advertisingifficials, they said they were quiteatisfied, even "gratified", by the re-eks of their tv run.

Said C. C. Hollister, director ofadvertising and promotion services:`We're not using tv this year becausetor objectives have changed." He'mold not specify how the company'sthjectives had changed. But unlikeKerox, for example, whose initial7enture into tv resulted in ever great -r interests, IBM's experimental movento tv seems to have been just that,in experiment, not the first step oft full-scale invasion.

NewsfrontEven during the season that IBM

advanced the banners of its treas-ured corporate image onto tv, thecorporation continued to spendheavily in magazines, even increasingthis print outlay over what it hadbeen before the jump into tv. Accord-ing to the Magazine AdvertisingBureau. IBM in 1965 spent $2,377,.870 on magazines, more than in '64.when it spent $2.151.460.

In 1%3. according to the samesource, the company had spent lessin magazines: $1.742.695. The curi-ous aspect of the company's uppingits magazine expenditures from 1963through 1965 is that the increasestook place at a time when the com-pany was spending a great amountof money on its exhibit at the NewYork World's Fair. This outlay re-portedly was well over $20 milliondollars.

In The Future? Advertising onthe 360 line started in 1964, in maga-zines. It's anticipated, however, thatmuch more of IBM's advertisingmoney may be given over in supportof the new computer family as it

moves ever more heavily into themarketplace. Some of this ad moneymay find its way into tv. into pres-tige tv offerings such as news specialsor cultural fare. This, at any rate, iswhat network salesmen are hoping.

"We're not looking for any partic-ular tv program." C. C. Hollistersaid. "But should an opportunityarise. we might possibly take advan-tage of it."

John Thomas. account executiveon the IBM corporate advertising ac-count at Ogilvy & Mather. said hecould not comment on ally of thecorporation's plans. But James Her-gen. NBC-TV sales vice president.said he was in weekly contact withthe agency on eventualities for IBM."IBM is an excellent prospect fortv." Mr. Hergen said.

So too (lid John Karol. CBS -TVvice president for special projects.who remarked that "IBM is anxious

to get back into tv." James Duffy.sales vice president at ABC-TV. saidIBM was "investigating tv," althoughit had showed so far "no concreteinterest" in any particular offering.not even ABC -TV's Stage 67.

"We will continue to consider tv,"said Walter Fleck, IBM's corporateadvertising manager, "But we're notlooking for anything specific."

Mr. Fleck said the decision notto renew on CBS "was not predi-cated on disenchantment with tv. Onthe contrary, it's been a gratify inexperience. But in view of certainmarketing strategies. iie felt weshould allocate our advertisingmoneys elsewhere." He couldn't saywhere that might be-"plans are stillbeing formulated, but we haven'tclosed our eves to tv. We want tokeep flexible."

Foot Still in Door. If eves remainopen at the corporate level. on Madi-son Avenue where IBM's OfficeProducts Division is headquartered,tv is a present reality and commit-ment. Through Benton & Bowles. thetypewriter and adding machine mar-keting division has some 31 minutescoming up on network this season.Most of them are in CBS sportsshows. The division is running a totalof 18 minutes on CBS -TV, eight onNBC-TV and five on ABC-TV. Theoutlay on all three networks isthought to be about S600.000.

Good for the Image. Tv is by alli.1.11(e not intilinpalibie with the

IBM image, although the selling ef-forts for its computer lines. whichrepresent three-quarters of the com-pany's worldwide S3.6 -billion salesI last year) and three-quarters of itsprofits of $477 million. may more ef-ficently use media ostensibly read bythose who determine computer pur-chases.

Working in the well nigh double -

dome fields of automation and cv-herneticization, the House thatTHINK Built may yet seek to "warmup" its public image through tv.


We have seasons,

T7land of YEAR-ROUND

but they are relative- good living, good businessly mild, without theharsh extremes that oftendisrupt business elsewhere.This means year-round high-levelspending, with a diversified econo-my, as a center for government, business,recreation, education, and industry. Fewstations, we are told, dominate their marketsas do we in WCTV-land,but you probably haveyour own figuresto prove this!

TALLAHASSEE

THOMASVILLE

34 Television Age, October 10. 1

Television Age

Stagehands, editors, cameramen andothers already have new contracts;

how much higher will actors' demandssend production charges?

Countdown oncommercial costs

The negotiations will be hard; they'll prob-ably be long; and when they're over,

we'll end up paying more than we want to. ButI don't see anybody dropping out of televisionbecause of it."

"When the attorneys and representatives ofSAG and AF'TRA sit down at the table, they'vegot plenty of ammunition. They have in black -and -white how much time the networks sold toadvertisers last year. They've got the profitfigures for P&G and Lever and General Foods.Those things are hard to hide."

The two quotes above are from the side of"management" as represented by the American

OCTOBER 10, 1966

Association of Advertising Agencies and the As-sociation of National Advertisers. Under discus-sion is the upcoming dispute with "labor" asrepresented by the Screen Actors Guild and theAmerican Federation of Tv and Radio Artists.Deeply involved in the negotiations as signatoryparties, if not as payroll -paying employers (sinceincreased costs eventually come out of the ad-vertisers' pockets), are the television networksand the Film Producers Association. For threeyears, since mid -November, 1963, the battle-ground between the various forces has beenquiet. Now, in mid -October, 1966, these forcesare about to come together in an effort to ham-

elevision Age, October 10, 19663F

36

Now the talent unit)

mer out a new wage agreement be-fore the existing contract expiresnext month.

It is a foregone conclusion thatthe unions representing the perform-ing talent that appears in commer-cials will achieve sizable rate in-

creases for their members. Manage-ment goes to the bargaining tablewith no thought of "holding the line"at current rates; rather the idea isprimarily to protest vigorouslyagainst the exorbitant increases askedby the performers, and to keep pro-testing until the unions whittle theirdemands a bit.

'We Won't Pay'"Frankly.'' said one member of a

legal team that will do battle overthe bargaining table, "the advertisers'case boils down to the statement: 'Wejust won't pay that much."

Whether or not the agency/adver-tiser argument is that simple, there islittle doubt that next year the costof a television commercial will behigher than it is now, and the cost ofairing it for a specified period oftime is ill also be higher. Just howmuch higher can be estimated at thistime by an investigation of severalfactors: the proposals already knownto be put forth by the talent unions;the increases already granted othersegments of the commercial produc-tion industry in recent months, and

the increases achieved by SAGAFTRA in the last two contracts.

Out The WindowSince President Johnson's "guide-

lines" of a 3.2 -per -cent wage increasewent out the window with the airline

settlement, it's foolish to imagine

they will be held to anywhere else

where labor feels it can do better.Taking a look at some recent in -


are to blast off into realms of higher wages

uses in other areas of commercialAuction hints at what can be ex -

A free-lance director who made15 per day before July 1, 1966,

Otis' gets $154 per day, and next Julybill get $163 per day-an increase°better than 12 per cent.

A wardrobe attendant, making$1 per day before September 1,n v gets $46 per day and next Sep-tober 1 will get $48 per day-anitrease of almost 10 per cent.

The stage "mechanics"-grips,lilting operators, etc.-received a 5-p -cent increase on the minimumpie in all categories as of July 1,

the new contract runningthugh December 31. 1967.

Cameramen employed on akly and annual basis will receive

a -per-cent increase on all existingm imum scales, effective January 1,V 7.

r Make-up artists now getting $52p( day will get $55 per day nextStember 1. while the rate for a114 stylist will go up from $50 perch to S55. The increases range from5. to 10 per cent.

Both Sides GainI the negotiations which produced

h aforementioned results, it can -'a be said that the advertisers (asIesented by the Film Producers)ciation) gained nothing. In somelances, in fact, the gains were ofor proportions. For example, innegotiations with the make-up

'its, the union agreed to waive)active pay and also accepted

able starting time hours. In theleramen's agreement, similaris were accepted, and no wageease was provided for dailyeramen. Other gains were achiev-ibut prices-so far as both base

rates and pension contributions areconcerned-generally went up be-yond any Presidential guidelines.

As serious as the recently grantedincreases appear to be. they have sofar met with little reaction at theagency/advertiser level. The reasonsfor this lack of comment are several.For one thing, in the past six months(when discussions with the unions onnew contracts were taking place) ad-vertisers were becoming accustomedto seeing their commercial produc-tion bills leap 20-30 per cent to coverthe cost of color. When a typical one-

minute commercial filmed in black -and -white for $8,000 suddenly costs$10,000 just because it's shot incolor, few clients are going to bedisturbed because a director is mak-ing $25 more per week or the cam-eramen's welfare fund now gets 82.00per day contribution rather than$1.50.

Additionally, the advertising sideof the television industry is awarethat a key word-and a costly one-is missing from the agreementsdrawn up with directors, camera-men, et al. That word is residuals.Although the Directors Guild ofAmerica has been bargaining forresidual payments on commercialsfor some time, its new contract for-goes any such rights until April,1968. Other unions have not yetfelt their strength is such that theycan reasonably expect managementto listen to a request for re -use pay-ments. Tv writers, of course, get re-siduals on repeat broadcasts of pro-grams they have scripted, and cer-tain "specialists" called in to workon jingles or commercial story -boards occasionally are paid on a re-sidual basis. By and large, however,the commercial residuals domain isexclusively that of the actor, singer,

dancer or off -camera voice. Sinceresiduals can run into many thou-sands of dollars, advertisers tend toconcentrate on what's happeningwith performing talent and disregardthe increases in other fields.

From $105 To $125Even where performers are con-

cerned, the attention is almost entire-ly on residuals-on the parts of bothmanagement and labor-and not on"session" fees, the basic amountspaid to talent to make a commercial.In 1960 an on -camera principal waspaid $80 for a day's work; duringthe '61-'63 period, the same actorgot $95; for the past three years, he

$105. next three years.SAG/AFTRA is proposing that theday's salary be increased to $125.It is likely that the $20 increase re-quested will be reduced, perhaps cutin half, before the new contracts aresigned. One negotiator claimed thatSAG/AFTRA undoubtedly wouldagree to no hike in the daily sessionfee if it could secure substantial in-creases in the residual scales.

Other Costs SoarBut even if the $20 increase were

granted, the advertiser paying $10,-000 for a color commercial is un-likely to complain any more vigor-ously about it than about the $9 in-crease a free-lance director gets, orthe additional $3 per day expense astagehand gets while on location, andso on. It can be said that $3 here.$9 there, $20 there, etc., when total-led can add considerably to the costof a commercial, but the fact re-mains that the salary increases arerelatively minuscule compared tosuch costs as perhaps 880041.000

(Continued on page 44)

'Won Age, October 10, 196637

What it takes . . . to open your own production s

This year, according to the bet

estimates, advertising agencitacross the country will expend $8(100 million on the production c

television commercials. Small poi

tions of that sum will go to covethe cost of talent: some of it wigo to tv stations which prepare conmercials for advertisers; but th

great bulk of it will be paid to pr(duction companies supplying caneramen, directors, studios, light:

and the assorted paraphernalia nested to turn 90 feet of raw stock 14

60 seconds of selling message.So, with so many millions d

ling so near, so tempting, so tanizing, it is not surprising that ageproducers, art directors, studentsfilm, still photographers, Hollywcameramen-practically anyonehas ever shot a home movie wifixed -focus Brownie-has opened,opening or is considering openinhis own production shop. And whnot? All it takes to get started i

the right mix of the right ingreilents, and the rewards can be. welrewarding.

Right Cotribiiiiitimi Needed

To get those rewards, the newcorner has to know how to mak

films. But that's not enough. Contacts are important. but he can'

rely on them. Cash and credit arcritical. but they don't carry all thweight.

In the risky, feast -or -famine bm

mess of film production, where somecompanies appear, make a littl

noise and leave in six months, amothers gross a quarter of a milliol

tihtt (Intl profit: some views on the mull production house

'liars (luring the same half -year,combination of tangibles and in-

agibles is needed. The right timingid a good reputation help-andck certainly doesn't hurt. And any-ie thinking of breaking into theeld might also check to see if heas the "instincts of a riverboat=bier.""Theoretically. anyone who ownscamera is a production company,"

iys Hal Klein, executive directorI the Film Producers Association.But more generally, it's a companyat has some staff, a director or auneraman, is recognized at thegencies, has a credit rating and hasgned up with the unions."

Producers Start Most

That these factors don't necessarily'ell success is evidenced by theigh mortality rate of new companies

the business. The ones that doake it seem to have at least some

these ingredients and an addeddra or two-whether they start asle -man shops with a minimal in-tstment or as five -partner companiesith a lot of capital.Who traditionally starts a pro -

action company? "Usually angency producer who has a fewontacts couples up with a directorho may have a reputation," saysobert A. Staats, vice president,cretary-treasurer of Stars & Stripesroductions Forever, Inc. "Sixty pernit of the companies are started byirmer agency men." notes Hal Klein.Although more often than not

)npanies are either started by peo-e with agency and/or film com-

pany experience, some have beenopened by people without these asso-ciations. Barry Brown, who operatesa one-man shop, Brillig Productions,Inc., and has been making commer-cials for the past two years, camefrom neither a film company noragency: he worked in the dramaticdocumentaries area. Harold Becker,who was well-known as a still photog-rapher before he broke into thecommercials production field. is an-other exception.

Contacts are Important

A man who has been associatedwith an agency usually brings con-tacts to a new company, althoughtheir value is widely disputed byfilm company owners.

"You need contacts, agency peoplewho want to work with you," saysPeter Cooper, one of five who start-ed Focus Presentations, Inc., in 1965."To start out without them is atragic error." (Of the Focus princi-pals, one spent all of his career atagencies: the other four came out offilm production houses.)

`Something Special' Helps

"You don't necessarily have tohave contacts lined up-but it makesthe selling job easier. They knowyou, they know how you work andwhat your capabilities are," saysPaul Landis. who along with CliffWolf opened Landis/Wolf, Inc., inAugust 1966.

"Contacts are important." saysRobert S. Colodzin, president ofColodzin Productions Inc., "butthey're of auxiliary importance. You

can't go into business because youhave contacts. You have to offersomething special."

"You can't rely on contacts," notesRon Fritz, who with Dan Hunnstarted D&R Productions, Inc., fiveyears ago. "Not that agency friendsdon't mean well, but they still haveto justify their choice of a produc-tion company. They'll be asked. 'Whydid you go to that little unknownoutfit?' "

In addition to the contacts value,a former agency association impliessome knowledge of the advertisingbusiness. Russ Ford. who openedF.F.A., Inc., with Sy Shaffer inAugust, spent 14 years at agenciesand over a year at MPO. He says,"I'm not a motion picture man. I'man advertising motion picture man."Mr. Colodzin, in the agency businessfor 17 years before opening his ownproduction house, says, "If you'regoing to make advertising films, youshould know the advertising business.We are an advertising company thatmakes films."

Good to Stay Small

A determining factor in the com-position of any new company-with contacts and agency experienceor without them-is the goal of thepeople who start it. A large numberof new companies want to remainsmall-which necessarily affects theinitial capital invested, the amountof equipment bought, etc.

"We never want to get too big,"says Paul Landis. "A small companyoffers personal contact with clients,


Irricion Age, October 10, 1966Bt)

The production of a storyboardfor a tv commercial might make

the greatest creative demands on anagency. But the storyboard, madeby salaried agency people, is notespecially expensive. Not until it is

approved for production does thereally big money begin to flow. Atthis point, often when the campaignis behind schedule and the pressureof set air dates is mounting, the.agency is faced with its most costlyand important decision: from thehundreds of commercial productionhouses knocking at the door, howdoes one pick the house that willbring the storyboard to life best,cheapest. and on time?

No Taste for Bids

Nearly all advertising agencieschoose the same way other large in-stitutions do when looking to theoutside for a major service or prod-uct. They accept bids. Typically,three production houses are invitedby the agency to view the storyboardAnd ask questions; a couple of dayslater the film houses submit theirbids; the agency recommends one tothe client; the client, increasinglybaffled at the considerable and in-creasing expense, approves; the con-tract is signed and production corn-mences.

Most agencies, clients, and filmhouses have little taste for the prev-alent competitive bidding system,but they accept it because nothing'has been suggested that can replacethe great leveling force of the com-petitive bid. The benefits of the,com-petitive bid, however, are not asgreat in film production as they arein more easily defined products.When General Motors accepts bidson a gross of paper clip cartons.

it knows exactly what it wants andwill get. The bidder with the mostefficient operation and knowledge ofpaper clips is able to produce thelowest bid and wins the contract. Bypitting like suppliers against eachother the buyer reaps the benefit oftheir competition.

But paper clips are not televisioncommercials . . . and paper clipmakers are not film houses. A paperclip can be perfectly described andordered in one sentence. A commer-cial, even with a big storyboard andaccompanying list of specifications,defies precise definition. When order-ing a commercial from a film produc-tion house, unknowns abound. Theseunknowns inject a certain mysteryinto competitive bidding for film pro-duction that mocks persistent attemptsat standardization and regulation.Experience, knowledge, and judge-ment are the greatest virtues.

In deciding who gets the bid, oreven who is invited to bid, the natureof the film industry itself complicatesmatters for agency tv production de-partments. The main considerationsare a film house's ability to executea storyboard as conceived by theagency, and the cost of execution.Because every commercial is differ-ent, the former can only be judgedon past performance and the reputa-tions of the director, cameraman,and other film house employees as-signed to the project. The price ofcommercial production is subject toscores of variables from weatherprobabilities, special talent costs, todelays on the set.

One of the most relevant, yet leastnegotiable variables, is the financialhealth of the film house. Filmhouses, despite increasing demandsfor their services, still operate onthin profit margins. Rapid ups and

downs in business activity lendcertain instability to the entire operation. A film house short on custom.ers and burdened with fixed over-head expenses might reduce its bidto cost. On the other hand, a "hot"film house, with clients waiting inline, can raise its mark-up to as highas 60 per cent of cost, and still keepclients waiting. Beginning film

houses, if they have the capital, some-times submit bids at cost, or evenbelow cost, just to get a foot in thedoor of a major tv agency. Theyare banking on their abilities andwilling to take a loss now for a latergain.

Know Strong Points

Given the mercurial nature of thelilm production business, and the

challenge to reconcile the pressingdemands of quality versus budget.exactly how does an agency go aboutselecting a film house to execute itscarefully conceived storyboard?far the most important individual

inside the agency, the man whoexerts the greatest influence on theselection of the film house, is the

agency tv producer assigned to the

particular account. It is his job toknow the specific demands of thestoryboard and to realize the elusiveproduction qualities that are desired.On top of this he should be thor-oughly familiar with the various pro-duction houses' individual strong

points, and special skills of camera-men and directors in the film houses.He, answerable to his superiors and

frequently aided by a cost estimator,decides which of the dozens of housesis invited to bid.

At Bates, for example, when astoryboard is cleared for production,"the agency producer discusses it

.40 Television Age, October 10. 1

id) his supervisor and me on whohould be invited to submit bids,"aid Robert Margulies, senior vice)resident in charge of commercial)roadcast production department.We tell the bidders in words whatone of them will execute on film."le explained that the negotiation athis stage is primarily in terms ofost. not content. The basics coveredire set designs, number of shootinglays required, number of camera-nen and other technicians, any spe-ial equipment needs, and other pre-

1l,ictable cost considerations. "Theo -etically, we are willing to workvith any one of the three bidders, sohere is no need to discuss contenttntil a bid has been accepted," Mr.Margulies said.

The usual procedure is for an

eleuision Age, October 10, 1966

Agency techniques twoin trying to match the rightfilm house with the right

Commercial at the right price

Thedeciding

voteagency to invite bids from three filmhouses of approximately comparablefacilities and size, and to be think-ing of individual directors or camera-men at those film houses. There isnormally a much greater interest bythe agencies in who will actuallywork on the production. than thename of the film house. As RayBetuel, vice president and associatecreative director at Foote, Cone &Belding, says, "We are not interestedanymore in the three initials on aletterhead. I'm interested in peopleand we seek individuals who special-ize in the areas we need for ourcommercials. Specialized talents atthe film houses are becoming increas-ingly important to us." Mr. Mar-gulies at Bates agrees: "After all.we're in the business of people and

it's a selection of people. not filmhouses. A good producer is sensitiveto which directors and cameramenwill be most able to accomplish thejob, and he goes after them."

Once the three houses are selected,they are given an opportunity toview the storyboard and specificationsheet made up by the agency. Mostoften the film house representativesare invited separately to the agencyfor a presentation of the assign.ment. At McCann-Erickson, however,"every effort is made to bring in thethree all at one time," said TedBird. business affairs manager ofbroadcast production. "By bringingthem in at once, they all receive ex-actly the same information and itsaves a lot of time and misunder-standing." One reason 1% by mostagencies don't invite film houserepresentatives in simultaneously isthat frequently the film represen-tatives make valuable contributionsand suggestions which alter theoriginal concept. "We often get use-ful suggestions from film houses, andfeel that they would be less willingto open up if two competitors weresitting across the table," said oneexecutive at Young & Ruhicam.

Detail is a Must

Usually, two or three days laterthe bids are submitted by the threefilm houses and the agency decideswhich one to recommend to theclient. The client always has the finalword. The bids are submitted invarying forms, but practically everyagency (many because the client in-sists on it) wants the bids brokendown in as much detail as possible.This means not only a total cost,but costs for the exact number ofhours or days of shooting time, the

(Continued to page 84)

I f a number of agency producersare wearing worried looks these

days, it's for good reason: they'reon the way out. In a change thathas been occurring throughout theadvertising business, commercialsproducers who are not also creativeadmen are giving way or at leastceding ground to art directors andcopywriters, and being replaced by"new -wave" producers who haveshown they can contribute to theelaboration of a campaign, not just"execute" film, or, in the jargon,"cover a storyboard."

Now They're Creators

Art directors, who in the past dec-ade or so have begun to play a

larger role in the gestalt of adver-tising, have been trooping into thefilm terrain, breaking out of theirold one -frame lockups to thrasharound in the 1,440 -frame business.In their onrush, they've been knock-ing producers out of the way. Thea. d.'s, and to a lesser extent thecopywriters who have come to thinkof themselves as film makers, arekeeping a tight grip on their story -boards. even onto the set. As a re-sult. the producers who have sur-vived the stampede are not the go-

betweens and messenger boys of

yesterday. They're creators.Although a handful of agencies

have knocked off their producers.and are now doing without thementirely, most agencies have kept theproducer on and given him moreresponsibility (and less independ-ence) by making him one of a three-man team, working with an art di-rector and a writer. Others areshunting filmmaking responsibilitiesonto "hyphenates" - "writer-produc-

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nuts' know ntore titan film

er." "art director -producer." "w riter-a.d.-producer." and perhaps "pro-ducer -writer" an so on in reverse.

Of the working arrangements andproduction setups, the most prevalentseems to be the triumvirate. in whichthe producer plays the part of TheThird Man. Even as triumvir. theproducer usually retains. under thisarrangement, most of the responsi-bility for the technical aspects of

the finished commercial. and he

shares in the responsibility for over-

all copy.

Everyone Is Involved

Advocates of the "Three -Muske-teers" approach point to Young &Rubicam, which has gained a repu-tation for highlevel and consistentoutput of commercials. Last year.Y&R beat out Doyle Dane Bernbachin the award -collection game. Muchof Y&R's filmic sucess is attributedto its switch a few years back fromcompartmentalization to musketeer -

ism. Under the former Y&R modusoperandi, the left hand-of copy andconception-knew not what the righthand-of tv production-wrought,not until the interlock, at any rate.

Robert Wall. vice president andassociate director of the art depart-ment at Young & Rubicam, said thatall the different activities that go intothe making of a commercial-music,cutting. casting. setting the pace, set-ting the tone. etc.-cannot be turnedover to a third party ("that would put

too much responsibility on the pro-duction department"). At Y&R. hesaid, everybody is involved in the

commercial until it's on set, when theproducer takes over-he speaks forthe agency. to the studio crew.

Walls Broken Down

Mr. Wall said that art, tv and

copy work together in designing the

commercial-"formerly, design wasthe responsibility of the copywriter,and the art director was only a


mderer." What Y&R did was toreek down the departmental walls,break down segmentation." At thegency, Mr. Wall remarked, "therere no islands labelled 'hard sell'r soft sell' or 'creative'."The way it works now, the three

-art, copy, tv-work on commercialimpaigns, from copy policy throughtarketing philosophy, through cast -

1g, shooting, etc., all the waytrough to answer print.

Overcoming BignessAt the same time, at Y&R, the tv

roducer has an enlarged responsi-ility. "He should be a good con-Ttualizer, and if he's also goodt copy or at art, we make him aroduction supervisor."The art director working in corn-

tercial production should be "atinker and an ad man," said Mr.Fall. At Y&R, creative supervisorsave come from art, from copy, andom tv production, whence sprang'eil Tardio, Stan Dragoti, and Billovington, creative supervisors all."Now there's no penning up,"

Ir. Wall said. "Everything's inte-rated. To overcome the problem ofigness, with its tendency to over-rganize and to segment, we're try-tg for a small agency philosophy,ith fewer castles and boundaries,.Jre give and take."Around New York, they're calling

le tendency for art directors andniters to produce their own com-tercials, "the PKL approach." (Al -tough it might better be called "Thearl Ally approach." The Allygency has no producers on payroll;apert has "nine or ten," according

George Lois.)Mr. Lois, the first vice presidentd secretary of the agency and

one of the world's most flamboyantart directors, said the responsibilityof a tv producer at PKL "depends onthe job. If it's a location job, theproducer is highly important. If it'sa matter of advertising judgment, thecopywriter and the art director workas a team with the producer. If it'sa question of cinematography, theproducer is important."

Mr. Lois surmised that if any agen-cies have entirely eliminated tv pro-ducers from their payrolls, "they'reeither trying to save money-ormaybe they don't know what a goodproducer is." He said he'd ratherwork with a producer-"if he's good.Who needs a hack? A good producergets rid of detail, and lends a brightbrain."

`They Can Contribute'

Another agency in which art di-rectors and other creative types areplaying a greatly increased role intv commercial production, to thevirtual elimination of the tv produc-er, is McCann-Erickson.

Georg Olden, vice president ofMcCann's war college, the Centerfor Advanced Practice, is high onthe benefits of having art directorsproduce commercials. "Art directorshave finally broken up the nearmonopoly of tv producers. The a. d.'smanaged to catch a glimpse of thefabulous creature, film -making, afteryears of being systematically barredfrom the set. Once the a. d.'s got onthe sets, they discovered they couldcontribute to the art.

"For 10 years the jodhpur set hadit made," Mr. Olden said, "razzling,and dazzling agency men with thejargon of their trade. Under thisancient regime, with its loss of story-

board -to -film control, the art direc-tor found his work was being gar-bled. Often enough, when he sawwhat the producer had wrought,he'd throw up. The bouncing babyhad been turned into a 97 -poundweakling. It really took a great talentto ruin the good idea; some of thejodhpur boys were geniuses at it.Some boards are so great a babycould make a film from them; ittook a self-styled genius to ruinthem.

Only Two Left

"Some dyed-in-the-wool produc-ers can improve a storyboard," Mr.Olden admitted, "but many wreck it.To save his work, the a. d. beganto nudge in a bit. In time, agencies,came to want art directors who couldmake film.

"Content is much more importantthan form in a commercial," Mr.Olden said. "Making film is not amatter of technical gimmicks."

There are only two tv producersleft at McCann, Mr. Olden said, andadded that the two are men who aregood at working with a. d.'s andwriters, and adept at giving themtechnical guidance.

But a couple of blocks away, thethird Musketeer is in full sway. AtJ. Walter Thompson, largest of theagencies, creative group head WilsonSiebert said that the tv producersare working in all stages of admak-ing with the writers and art direc-tors. "They're in on a commercialat the beginning." There's no trim-ming down on the number of pro-ducers at JWT; Mr. Siebert reportedthat of the 28 admakers in his group,five were producers, as against 12


evision Age, October 10, 196643

Costs (Continued from page 37)

to build a set, $300 for editorialcutting. $200 for simple opticals,$1,000 for original music, and thelike. Steps are naturally taken to holddown wage increases on all fronts.but the general labor situation, theoverall inflationary spiral and theFCC -reported profits of the televisionindustry all make a rigid anti -in-crease stand virtually impossible.

.1a Important Change

Where the representatives of the4A's, the ANA, the networks andthe Film Producers Association willtry to hold the line next week asnegotiations begin will be in the cost-ly area of residuals. Here the SAG/-AFTRA legal team will offer a con-tract calling for a major revision ofthe "unit weighting" system used incomputing the payments for use of"wild spots." A wild spot is definedas a commercial that is broadcast bya local station independently of anyprogram or within a local participat-ing program. Residuals for such spotsare based on unlimited use over a13 -week period, and are set at somuch per unit-each unit implyingone city in which the spot runs, ex-cept for specific large cities that cancount for two, three, four or moreunits.

The important change SAG/-AFTRA proposes is that where eachcity with a population of one million

cL

O

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0:1

Os.4

On.4

O. c

on, flillefa '1'11m/tier,I ; e eel.. use

Time cost,

pr. 20 -sec. commercial,one time in

top 100 mar

How hareresiduals faredin proportionto time costs?

Residual rates for 13 weeksuse of a commercial withone performer have gonefrom $220 to an estimated5;700 in seven years, while'vs, of running thatcommercial in 100 marketshas climbed from $23,750to $38,500.

or less has counted for one unit othe last five years, each city withpopulation of 500,000 or less shohenceforth count for one unit. Citiwith more than 500,000 people wobe tabbed at one unit for the fi500,000, plus additional units feach additional 500,000 or fractithereof. Thus a city such as B:

more which has had a unit weighttwo would now be weighted at foBoston would climb from threefive; St. Louis, from two to five;Francisco, from three to six,

While many of the country's smamarkets would remain unchanged,course, the effect on the adver'who has been using the "top 20"even "top 50" markets wouldsevere, since he might find hiscount almost doubled.

Unions' RebuttalA rebuttal here from the viewpoint

of SAG/AFTRA is that under the decreasing scale employed in residpayments, the more units purchathe cheaper it is. Offsetting this arment, however, is the fact thattalent unions-in addition to the revised unit count-are proposing in-creased charges per unit used. Forany player (except group singers)used on camera, a flat rate of $125for the first five units is proposed,as compared to the existing rate of

$105. For five additional units, the

cost is to be $9 per unit, versus the

(Continued on page 781

44

*1967 figures estimates


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NotWeekly

TV Homes

KWWL-TV* 200,900KMMT-TV** 111,900

KOMBO-TV 312,800Station A 226,600Station C 261,900

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KOMBO-TV is:

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New equipment pur-chased this year to bet-ter serve both the adver-tiser and viewer in-cludes: New color filmchain New color cor-rected video tape re-corder New Harwaldfilm editor New videoswitching equipment Two new color cameras New audio equipment New RCA projectors.KOM BO -TV has in-creased its Net WeeklyHomes served by near-ly 20,000 in this period.

.4CAVERY-KNODEL, INC.

II, Television Age, October 10, 1

A PROGRAM MAN'S . . . . Viewpoints

IT

Blue Pencil BluesWvile awaiting the final judgment on new shows-failures and their replacements, successes and

their triumphs-there is a hot polemic that needs air-ing. That is censorship of commercials by networks andstations. The programs in television will be useless ifthe advertiser cannot freely sell his merchandise in thebody of those programs or between them. The villainof this piece is creeping censorship that threatens tothrottle creativity.

To be sure there has always been censorship of productand claims. Up to now it has been a polite exchangeof ideas between network representatives and agencyrepresentatives, and occasionally a client. The interpre-tation varied from network to network and from censorto censor. Some censors could be jollied out of theirobstinacy, or bullied out of it. In general. the goodguys learned to live with it and the bad guys suffered.Fine.

Now there is a new addition to the NAB voluntarycode. It is a clause that forbids knocking a competitor.and urges the advertiser to stick to the merits of thecase. This one is a dilly because there are often no out-standing characteristics of a product: the imaginationof a writer is all that stands between a successful cam-paign and bankruptcy.

Perhaps an illustration of a case will help dramatizethe absurd limits the censor is going to these days. Alarge manufacturer of electric dryers submitted a story -board to the censors of several networks showing themerits of the dryer in relation to the new Perma pressclothing. The argument was submitted that this modelhad sterling ability to dry a garment with an end resultequal to an ironed garment. To emphasize the point andfor a gag the last scene called for the housewife runningthe device to throw an iron out the window.

In the first place the censors unanimously agreed thatthey could nut approve the commercial from a slim.hoard-they would have to review the completed com-mercial. So it was filmed and when the commercial wasscreened by the censors it was rejected. Why? Becauseit was derogatory to irons. Despite passionate pleas onthe part of the advertiser, the censors were firm andwere supported by the NAB code officials. The commer-cial was rewritten. reshot and finished-too late for the

;first fall shows. Adding injury to insult the advertiserwas charged a $2,000 late editing charge to get the com-mercial in the schedule as soon as possible. Total dam-age: about $10,000 worth of out of pocket expense, notcounting valuable man hours and telephone calls. Thissituation can be multiplied by 100 this fall. Over $1million has been spent making controversial corrections,it is estimated.

Now examine the case on its merits. How a woman

throwing an iron out the window could possibly bedamaging to iron manufacturers is beyond rationalman's comprehension. No woman likes to iron. Shewill always have to iron and she will have an iron inthe house. But, does she have to like it? Tell your wifethat and you'll get an iron in the kisser. The conclusionis that the censors are square-way out square andhumorless as the Red Guards. What dame wouldn't geta boot out of throwing the instrument of tedium outher bloody window?

In the second place, there is no reason why the objec-tion could not have been made to the storyboard. Howmany different cute ways are there of throwing an ironout the window? Backwards?

Would the mad monks of the new Inquisition haveokayed it if the gal had gently pushed it through thewindow? Or, if it jumped out by itself? Come on. Funis fun but the fight should have started with the story -

board. not after thousands of man hours had gone intoa finished color production that did exactly what thestoryboard called for.

And what kind of breed is the censor? Generally,they are women who have graduated from being secre-taries and have long elected to have a career insteadof a marriage. Positions are filled by executives the net-work doesn't know what to do with. The job is horrid-one fight all day long with loud yelling and vitupera-tion. The pay is equally horrid since this is hardly aconstructive job that adds to profit. Put them all to-gether and you have sadism.

What to do, next to storming the censors' offices andstringing them all up? Fight them! Deny their right!

Yell at them! Abuse them! Trample them with logicand invectives! Dominate them! But. don't give in.Appeal to the top management of the networks untilthey realize that they are the Frankensteins of the char-ade. Networks must upgrade the censor's job and castit BIG. Big men do not make petty decisions. Butneither do they come cheap: the sensible censor wouldcompromise with a code written by amateurs, withoutexperience in selling. and find a way to sell competin;_copy without really damaging anyone.

Until that day, keep the censors from taking overprogramming. because that could happen next. -J. B.


Film/Tape ReportI

PRINTS OVERSEAS

The tv commercial and programprint service business has taken agreat leap overseas, with Bondedsetting up an international division,and opening offices this month inAmsterdam, Sydney and MexicoCity, and another next month inHong Kong. U.S. syndicators ofprograms to overseas broadcasters,and American advertisers and agen-cies which send commercials abroadfor showing on tv and in cinemas,will be able to have their printingand their print shipments expeditedthrough the Bonded offices abroad.and their worldwide print operationsfunnelled through one central com-pany.

Heading up the new operations.called Bonded Services International,is Donald Hine, as vice presidentfor sales and marketing. He hadbeen director of sales for ScreenGems International.

The Mexico City depot. headedby Mel Ginger, formerly with MGM -TV International. will service LatinAmerica. The Sydney office will

cover Australasia. Southeast Asia.and other Eastern markets. It'sheaded by John Tyson, who w ill alsosupervise operations of the HongKong office.

The Amsterdam facility. locatedat Schipel airport. will handle printtraffic throughout Europe. Africa.and the Near and Middle East. Itslocation at an international airportgives it something of the characterof a "free port" facility: Bonded canprocess prints within a quarter-hourof touchdown on the runway. andhave them off again in anotherquarter-hour.

Laboratory work and print -mak-ing, can be done under the new set-up either in the U.S. or abroad. onprint orders destined for U.S. tv

station use or on release prints, foroutlets overseas. The Amsterdamfacility has already made arrange-ments with Dutch labs for fast workin the future. Everything is readyfor service now.

HOW TO RUN A STATIONOn hand for the TV Stations Inc.

three day seminar at the New YorkHilton Oct. 10.12 will be Donald H.McGannon. president of Group W:A. Louis Read, president of WDSU-TVNew Orleans; Richard A. Borel, pres-ident of WRNS -TV Columbus; EldonCampbell, vice president, W FBM -TVIndianapolis and George Comte. vicepresident of WTNIJ-TV Milwaukee.

Mr. Read will moderate a pant Ion "station image:" Mr. Borel willlead a talk on "It's A People's Busi-ness;" Mr. Campbell will talk aboutcommunity involvement, and Mr.Comte will discuss program innova-tion. Mr. McGannon will talk aboutthe responsibilities of local stations.

The keynote speaker at lunch onOctober 10 will be Vincent 1'.

Wasilewski. president of the NationalAssociation of Broadcasters.

Other speakers will be Bill Leon-ard. vice president of CBS News:John 0. Gilbert. ABC -TV's vice pres-ident for affiliate relations; ArchKnowlton. director of media servicesat General Foods. Harold Crams.general manager of KSD-TV St. Louis:Albert J. Petcavage, vice presidentand media director of Doyle DaneBernbach: Jerome R. ("Tad"Reeves, vice president of creativeservices, Group W. and Jim Schia-vone, general manager of WW.1-11Detroit.

AT COMMERCIALS MAKERS

The Mitch Leigh Companies ap-pointed MILTON HERSON as presi-dent. heading up the eight divisions:Music Makers. Mark Century. SoundMakers, Promotion Makers. MagisterProductions. Andrew Scott. Inc..Renleigh and Magimer Productions.Mr. Herson founded Mark Century.in 1962.

DAN KORN FELD joined the MitchLeigh companies as executive as-

sistant to Mr. Herson. He had beenEmmy Awards administrator forNATAS and director of productionfor Television Affiliates Corp. Earlier

he was in charge of video tape pro-duction at WNEW-TV New York.

JACK MOSS left Turtletaub & Mossto set up a new company, MossCommunications Inc. (MCI). Thecompany will make films for salestraining, sales presentations. tv com-mercials and slide talks.

FilmFair elected BOB GIPS a vicepresident. He joined the studio as adirector last year, headquartering atStudio City. Cal. Before joiningFilmFair. Mr. Gips was executivebroadcast producer at Guild, Bascom& Bonfigli, and earlier was WestCoast production director for DoyleDane Bernbach.

WILLIAM DORN Bit joined Rose-

Magwood Productions as supervisingeditor on the West Coast. He hadbeen with MPO Videotronics in

Hollywood. and earlier was with

Universal -International. FilmFai r.Four Star. Desilu and John Suther-land Productions.

SHOOTING SKEDS

KKO General Broadcasting tookover the former MGM Telestudioslayout on the corner of 42nd Streetand Broadway in New York. Thepremises had once been the sceneof The Play o/ the Week, beforeWNTA-TV Newark became New York'stv Channel 13. Since Telestudios de-parture earlier this year for 3M'stVideotape Center uptown. after a

merger between the two tape studios,NBC-TV had been using the TimesSquare studios for the The Doctors,daytime soap opera. The acquisi-tion gives RKO General and its NewYork flagship WOR-TV and syndica-tion subsidiary RKO General Pro-ductions some 26.000 feet of fullyequipped studio space to play aroundin. The group's headquarters are

one block south of the new studio.

American International Tv launch-ed production on the pilot for

Solarnauts, a projected science-fic-

lion series to be made at Elstree

Studios outside of London, in a coproduction with Britain's ABC-TVBurt Topper. AI executive producer


pwill act as liaison on the halfhourseries.

Wolper Productions is makingtwo 60 -minute specials with SophiaLoren. one of them a biography ofthe Italian actress, the other a musi-cal set at her villa outside Rome.Jack Haley Jr. i, execotiv c produce!on the pair.

Meanwhile. M.J. I Bud i Rifkin.I executive vice president of Wolper

Productions. closed a deal to filma special on the magicians' conven-tion to be held in Miami next July.The 39th Annual Convention of theInternational Brotherhood of Magic-ians will feature a world's champion-ship. to pick the world's foremostmagician from a group of eight.each from a different country

ONTO THE ROAD

For the syndication market. Broad-cast Sales. Inc., last month startedproduction on Lou' ol the Land, a

live -minute series intended as a day-time strip. on legal problems. Broad-cast Sales' production subsidiary,Barrister Productions. Inc.. led off\% ith episodes with Sargent Shriver.director of the Office of EconomicOpportunity. and Tom C. Clark, as-sociate justice of the Supreme Court.The strip, to run to 260 episodes, ispatterned on Doctor's House Call, anacross the board five-minute stripnow running in 59 markets. The legalshow has been endorsed by the Amer-ican Bar Asseeciation, and by the Na-tional Law Center of George Wash-

Iington l niversity. locale of theproduction.

ON THE DOTTED LINE

Spanish Internat. al Network-old Bullfights Pons llevico to wtti-:-uv Boston. K miD-T% Midland andKZAZ-TV Tucson. The series has beenrunning on nine other stations.minty them WNJU-TV New York.KMEX-TV Los Angeles. WCIU-TV Chi -

:ago. w L -TV Philadelphia andIVDCA-TV Washington.

Olympus Television tallied 18narkets for Boxing Irom the Olyen-flc: IV FAA -TV Dallas. wkan Detroit.mots Philadelphia. KONO-TV San4ntonio. KTUV San Francisco. and

Advertising Directory of

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imeNcan Fletcher Nat'l Bank Handley & Mille;

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Burlington Industries Doyle Dane Bernbach

fHE FILMMAKERS,

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tmerican Standard

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AIII:CFMOPPETS, INC.,

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, rt,rLIBRA PRODUCTIONS, INC., New YorkNew York

Avis Rent A Car Cooke 8 Levitt

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ROBERT CARLISLE PRODUCTIONS, Hollywood

Coca-Cola Co. McCann-Erickson

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THE FILM-MAKERS, INC., ChicagoCOMMERCIALS, INC., Hollywood

y

Television .4ge, October 10, 1966

40

stations in Chicago, Boston, Sacra-mento, New Orleans, Spokane, Hono-lulu, Beaumont, Wichita Falls, ElPaso, Tucson, Eugene, Laredo andSan Juan. The show is a weekly 90 -minute color series taped at theOlympic Arena by KTLA Los Angeles.

Superman Tv Corp. chalked upsales of the New Adventures of Super-man cartoon series to 20 stations inthe U.S. and to broadcasters in 11countries abroad. The domestic saleswere to WGAL-TV Lancaster, WLOS-TVAsheville, WRAL-TV Raleigh, KPLR-TVSt. Louis, WPRO-TV Providence, KHJ-TV Los Angeles, KMJ-TV Fresno,WTAR-TV Fresno, WTAR-TV Norfolk.KHFI-TV Austin, KORK-TV Las Vegas.WBRZ-TV Baton Rouge, WLEX-TV Lex-ington, KBMT Beaumont, WTTV In-dianapolis, KLZ-TV Denver, WTVT

Tampa, WSLS-TV Roanoke, WROC-TVRochester, WAST-TV Albany and1VHNB-TV Hartford.

Abroad, the cartoon Supermanwent to Japan, Argentina, Venezuela,Puerto Rico, Mexico, Costa Rica,Honduras, Panama, Nicaragua. El

Salvador and Guatemala.Last month Marvel Super Heroes

kicked off on WOR-TV New York.The cartoon series, produced byGantray-Lawrence, Inc. in Holly-wood, with Robert L. Lawrence asexecutive producer, features charac-ters from Marvel comic books:Captain America, The IncredibleHulk, The Mighty Thor, Iron -Martand Sub -Mariner, in a weekday half-hour strip.

Up in Canada, Seven Arts soldVolume 10 to eight stations andVolume 11 to 12. The dozen takers

of Volume 11 were all affiliates othe non -government CTV network..The Volume 10 buyers were stations'in the Canadian Broadcasting Corp.'slineup: cBYT Cornerbrook, CBXT

Edmonton, CUILT Halifax, CBOT Otta-wa, CBNT St. John's, CBLT Toronto,cBuT Vancouver and CBWT Winnipeg.

Nat' al Telefilm Associatessold The Play of the Week to WCES-TVWrens, WILL -TV Champaign and

WTHS-TV Miami.

FEATURING THE FEATURES

Independent Tv Corp. chalkedup 43 sales of The DeLuxe 20 in the

first month the package was on themarket, with the most recent salesto WDSU-TV New Orleans, WTMJ-TVMilwaukee, WIRL-TV Peoria, KAUZ-TVWichita Falls, WBAY-TV Green Bay,WCSII-TV Portland, KONG -TV San An-

tonio and WSPA-TV SpartanbumGreenville -Asheville.

Official Films appointed FrankB. Samlon advertising agency to

handle advertising for its tv featureand theatrical feature releases.

Peppercorn-Wormser acquiredOrson Welles Falstaff, earlier calledChimes at Midnight, for U.S. theatri-cal and eventual tv distribution. Thefilm was directed by Welles in Spain;it's an amalgam of the Falstaff scenesin Henry IV, Parts I and II; HenryV; Richard II; and Merry Wives ofWindsor. In the cast are MargaretRutherford, Marina Vladi. John Giel-gud. Walter Chiari Alan. Webb,

Norman Rodwav and Keith Baxter.

National Telefilm Associatessold 10 Action Adventure ParamountFeatures to WCSII-TV Portland and

DON ELLIOTT PRODUCTIONS

Specializing inUnique Post -Scoring

Complete Recording andFilm Playback Facilities

80 West 40th StreetNew York 18, N.Y.

LA 4-9677

50iTelevision Age, October 10, 1966

WGPII-TV High Point; Shirley TempleTheatre to WKRC-TV Cincinnati; Q. T.

Hush and Christie Comedies toWKBG-TV Boston and KLPR-TV Okla-homa City; Duel in the Sun andRuby Gentry to WIIAS-TV Louisvilleand WSFA-TV Montgomery; 16 SolariFeatures to KGBT-TV Harlingen: NTAColor Cartoons to WKBG-TV Boston;Jane Withers Theatre to WCSII-TV

Portland. and Repertory Theatre toWKNO-TV Memphis.

FAST CUTS

Ed McWatters' short subject.Magic Bottle, took an honorable men -lion at the recent St. Louis Interna-tional Film Festival. Mr. McWattersis on the staff of Hollywood Newsreelsyndicate, a subsidiary of Rick

i. Spalla Video Productions. Stewart Wilenskv, film editor at

PGL Productions, is teaching filmgutting at New York's School ofVisual Arts. At the same school,editing to sound is being taught bytrying Oshman, vice president ofVision Associates.

W. Argyle Nelson retired as'ice president in charge of produc-ion and studio operations and as anember of the board of directors

Desilu Productions. He joined)esilu in 1952. after 30 years in mo-ion picture production with RKOand David 0. Selznick.

Firestone & Associates, agencyor Stella D'oro Biscuit Co., went totome to shoot a Bar Mitzvah allytomano for a commercial plugginghe biscuit company's Dietetic Eggttichel and Mandel Toast. As if innswer to any wiseguy's question.What's an Italian bakery doingtaking Jewish biscuits." Stella d'oroould rejoinder." What's a BarIitzvah like in Rome?" The musical:ore for the film was composed androduced by Mitch Leigh's Musictakers.

For a two-part documentary onOhio and The Presidency, a crewrirom vvtac-Tv Cleveland travelledo ver 1.000 miles around the Buck -

,ye State filming birthplaces or resi-ences of eight Ohioans who rose to

It!ecome President.h CBS-TV quickly followed NBCin I getting a new color mobile unit on


SELLING COMMERCIALS

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ilelevision Age, October 10, 1966

Virtually all '66-'67 primetime programming willbe in color. With color TVcommanding the attentionof millions of everybody'sbest customers, colorcommercials are becomingan essential competitiveweapon. Shoot in color-give your product a primechance in prime time,greater viewer impact allthe time.

For excellence in color,your producer and filmlaboratory rely on EastmanKodak experience, alwaysand immediately availablethrough the Eastmanrepresentative.

EASTMAN KODAK COMPANYNew York: 200 Park Avenue

212 -NIL:. 7-7080

Chicago: 130 East Randolph Drive312.236-7234

Hollywood: 6677 Santa Monica Boulevard213.464-6131

the road. The facility is mounted intwo trucks, one bearing an operationscontrol room, the other cable, port-able equipment, relayer and trans-mitter. The two vans can be joinedback-to-back when it rains. Aboardare six color Norelco Plumbicons.The operations van's forward sectioncan be expanded from eight feet(when on the road) to 13 feet whenit's parked. CBS Laboratories is

working on two more pairs of similarmobile units.

The Hollywood Radio and Tele-vision Society rent out some 20,000invitations to commercials makers.agencies, advertisers, stations andstudios to enter their proud handi-work in the upcoming Seventh An-nual International BroadcastingAwards. On the mailing list wereadmakers in 64 countries.

ZOOMING IN ON PEOPLE

JOHN W. NELSON joined the NBCOwned Television Stations divisionas director of program development,heading up the division's new pro-gram development unit. He had beenwith NBC from '54 to '62 as general

program executive and director ofdaytime programming. From therehe went to Graphics International asexecutive vice president.

AARON BECKWITH joined RKOGeneral Productions as director ofbusiness affairs and planning, a newposition. He had been director ofprogram testing at Schwerin Re-search Corp. Earlier, he was a vice

MR. BECKWITH

president and account supervisor atBBDO, and before that was programsales manager for ABC.

PHILIP E. NOLAN joined Group Wsnational program staff, to work withJames R. Lightfoot. national radio

FREE CONSULTATIONand advice on your requirements in motion pictures,optical and special effects, filmstrip photography,filmstrip release prints and slidefilm duplication.Bernie Barnett . . . Mo Weitzman . . . and Terry O'Neillare waiting to help you . . call or write today!

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141program manager, on program for-mats and production techniques. Mr.Nolan headed his own company,Decade Productions, producing film,tape and radio programs. Before

that he was executive producer atMark Century Corp. and earlierworked in programming at Mars

Broadcasting, KOMA Oklahoma City,WDGY Minneapolis, KALL Salt LakeCity, and KSUM Fairmont.

On the West Coast. Dancer -

Fitzgerald -Sample promoted GORDON

BELLAMY to creative supervisor andBUCK R. PENNINGTON to executivebroadcast commercial producer. Mr.Bellamy, who joined the agency fiveyears ago as a tv art director, was ananimator with Walt Disney, Anima-tion. Inc. and FilmFair. He head-quarters in the D -F -S San Franciscooffice. Mr. Pennington was a stageproducer and tv writer and producerbefore joining the agency in 1961as a commercials producer. He nowheads the agency's West Coast pro-duction staff, working out of theLos Angeles office.

BENEDICT BERENBERG joined Sul-

livan, Stauffer, Colwell & Bayless asa tv producer. He had been withTed Bates & Co., and Compton Ad-vertising.

Group W promoted QUENTIN T.

KELLY to manager of advertisingand sales promotion for WBC Pro-ductions. He had been P.R. and pub-licity director for KPIX San Fran-cisco. Before, Mr. Kelly was directorof audience promotion for KTVU San

Francisco. where he also wrote and

produced shows. Earlier he wrotefor the San Francisco Examiner, and

other West Coast newspapers. and

was a publicist at MGM.

RKO General Broadcasting as-

signed CIFFORD EVANS as director of

the group's Washington news bureau.He had produced Ladies o/ the Press

for RKO General's flagship. WOR-TVNew York, and before that was anassociate producer on NBC -TV's To-

day program.MARTIN ROSEN left Ashley -Famous

Agency. where he had headed the

New York motion picture depart-

ment, to set up his own film produc-

tion company, which he calls Argo -

film. First project on his slate is


.

A Great Big Thing, to be shot in

Montreal.BBDO promoted WILLIAM B. CONK -

to creative director of its SanI Francisco office, succeeding ArtI Bellaire. who resigned to become vicepresident, advertising, at the J. B.

MR. CONKLIN

Williams Co. Mr. Conklin joinedBBDO in 1955 as a copywriter, be-ame a copy group head in '58, andater. a creative supervisor in the\m% York office.

Modern Talking Picture Servicevent DONALD W. LLOYD to London asis European representative, to pro-vide liaison for American film spon-sors interested in European markets.md for European film promoterseeking U.S. distribution. He willilso represent Modern Learning Aids.he educational division of MTPS.

INA MASSARI joined Bill Burrud)roductions as an assistant film edi-or. She had been with Lem BaileN.olor stock library.

WICK TAKES

The Terrific Adventures of the"errible Ten, an Australian children's,rogram. and the Gadabout Gaddis'lying Fisherman series, will be dis-ributed West of the Mississippi byerry Weisfeldt's Tv Cinema Sales:orporation. Flying Fisherman isponsored in some 70 markets by theAbert% Mutual Insurance Co.; thereire 52 half-hours in color. The Terri-

pit! JEROME J. COHEN, INC.

(Jerry 8 Rona225 West 34th St., New York 1, N. Y.

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Serta Mattress Co. MacManus, John & Adam

SARRA-CHICACO, INC.

FILMEX, INC., New York

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Palmolive Dishwashing Liquid Ted Bates

Shamrock Oil Co. McCormick Advertising

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derision Age, October 10, 196655

fic Adventures of the Terrible Ten,198 seven -minute episodes compara-ble to America's Our Gang comedies,has been on for some time in theUnited Kingdom and in Canada, aswell as in Australia.

RKO General Productionsteamed up with Columbia Festivalsto colortape last month's FestaItaliana event in Madison SquareGarden. The Italian pageant is cur-rently on the road. Syndication of thetaped show will begin once the com-pany's tour winds up. The pageantfeatures horsemen. singers. dancersfrom the many traditional tourna-

ments and festivals of Italy, such asthe Siena Polio.

Larry Harmon Pictures Corpo-ration sold rights to use the likenessof Laurel & Hardy to Pillsbury fora three-month donut promotion. Thebakery company sent out an 18 -piecemerchandising kit featuring Stan &Oliver caricatures.

Mr. Harmon. who does the voiceof Stan Laurel in Wolper Produc-tions' new batch of L&H cartoons.was signed by Pillsbury to makesome personal appearances as partof the promo.

The Associated Press is offer -

"Whenlove and skill

work together,expect a

masterpiece."JOHN RUSKIN

audioproductions, inc., 630 ninth avenue, new york, new york 10036 (212) plaza 7-0760

ing packages of 35 mm color slidto tv station subscribers, for background illustration of news. The wtservice is calling the new servicePhotocolor. Each subscriber statiowill get shipments of slides N ice a

week. 10 slides to a package. Foropeners, AP is sending subscribe!, apack of 50. Each week slides n ill besent out from a special tv color deski Nen York headed by William(Sandy I Colton. Among the slideswill be not only headshots and back-grounds but drays ings. maps. etc.

The Overmyer Net sock signedup for Tales from the Great Booka cartoon series to be produced byCOL Productions in New York. Theseries will be based on the newspapercomic strip of the same title. syndi-cated by Publishers Newspaper Syn-dicate. Inc. ON's Oliver TreN z. net-

work president. says he plans to runthe half-hour show on Sunday even-ings.

With the shadow of the ax fallingon a number of weak new entries.ABC-TV gave a green light to seriesproduction of The Invaders, a QuinnMartin production which did not

quite make the September networkschedule, but was touted as the like-liest replacement on the shelf. Thescience -fiction show will kick off onthe ABC-TV network in January.

CULTURED TV?

Moderator critic Las% rence Lau-

rent endeavored to get a stimulatingdiscussion quickly underway by

questioning the motives of CBS -TVin putting on its acclaimed produc-tion of Death of a Salesman at arecent meeting of the New YorkChapter of the National Academy ofTv Arts & Sciences. The topic of dis-cussion was The New Season: A Cul-tural Explosion, and Mr. Laurentasked if the CBS program was in-tended not as a cultural event butto win back the "protester" group,the college -educated tv tune -out?

Irwin Segelstein. CBS -TV pro-

grams vice president, said the net

work had no such motive: "A guNwalked in with the idea; we thoughtit was great. Intuitively and visceral-

ly. we felt it was right. We took it

upstairs to top management. and

So Television Age, October 10. 106e

hes said it was fine. So we did it.)ne reason we did it was becausere all felt the movie version hadteen terrible. It wasn't to make usook good in Washington. or coddlehe critics. or anything like that."BS was pleased with the over -30hare, but had not counted on it.

"Okay. but you couldn't do it withome other Arthur Miller plays."pined Bern Kanner. vice president1 charge of programming and mediat Benton and Bowles. "The reasonleash of a Salesman did well is be-ause it's a great story, not because's cultural." said Mr. Kanner."You couldn't run Aristophanes."

e claimed, and John Secondari. ex -:Wive producer of special projectst ABC-TV, agreed that the Greektaster of situation comedy couldave no place in tv."Tv is neither the Glory That Was

reece or Sodom and Gomorrah."Ir. Kanner said, expressing theope that the medium may yetachieve its place in the socialiectrum.""The fact that tv in the U.S. is a

isitiess is what makes U.S. tv bet-s than any other in the world."tid Mr. Secondari. He argued thatultural" improvement of the art

quires raising the level of all pro -.am styles. even the western ande situation comedy. But he pointedg that after a decade of intellectuallathy, tv would find that writersid artists capable of making theedium better are in short supply.Donald L. Clark, vice presidentcharge of advertising for Xerox.

id that from his company's pointview. tv was cultural enouch to

r; FOR PRODUCTION OFTV COMMERCIALS INDUSTRIALS

DOCUMENTARIES

reach the educated businessmen whuare Xerox prospects: but thenXerox only bought what it con-sidered cultural. "It would be fool-hardy for us to buy pap," Mr. Clarkremarked.

Would the networks kill off their"cultural" offerings, drama festivals.new playhouses, if ratings are weak?Speaking for CBS -TV. Mr. Segelsteinsaid the network was committed tothe new balance for at least threeyears. Speaking for ABC-TV. Mr.Secondari said that whether in thetime of Leonardo Da Vinci or Titia:1or Michelangelo. "good art hanever failed to gain recognition andreward." He indicated the same holdstrue in the time of Television.

AT THE FESTIVAL

At this week's International Filmand TV Festival of New York. a

demonstration of new techniques invideo-tape commercials will be givenby Edward McCabe, vice presidentand copy group head at Carl Ally.Inc.. and Charles Adams and GeorgeGould, respectively commercials salesmanager and executive vice presidentof Videotape Center. Pablo Ferrowill talk about the "versatility andlove" that is the motto of Pablo Fer-ro. Films. Leon Winik will showsome new cinematographic tech-niques: Dr. Charles E. Swanson andUgo Torricelli will demonstrate waysto getfilm."

Lew Schwartz and Jim Cronin ofDel Sol Productions will talk withManning Rubin, vice president andtv production director of Grey Ad-vertising. on The Feel of a New Look.

"more emotional power in

Russ Ford-President-DirectorSy Shaffer-Sec.-Treas.-Creative DirectorMarc Anderson-Production ManagerMilt Siegel-Supervising Editor

F.F.A., INC. 49 WEST 45th STREETNEW YORK, N.Y. 10036 212-586-0667

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Ilevision Age, October 10, 196637

Don Trevor, vice president and tvcommercials production director ofDoyle Dane Bernbach, will talk withMarc Brown of Marc Brown As-sociates and Robert Fine on There'sMore to Sound than Meets the Eye.

CAN THE MUSIC?

Library music. e-pecially recordingsof classics and standards, is a boom-ing source of background sound fortv commercials and programs thesedays, according to Mort Ascher.president of Emil Ascher. Inc.. themusic -library house which was found-ed by his grandfather in 1879. Dueto the soaring costs of original music.tv producers are relying more andmore heavily on catalogue music andexisting recordings, Mr. Ascher said.

"Live music and scoring has beenpriced almost out of the picture,"he remarked. "Now there's more`canned' than 'live' music in tv."Currently the Ascher firm, from NewYork headquarters and from a WestCoast offshoot headed by Mort Asch-er's son Everett. are regularly sup-plying backgrounds for programs.

Tv CommercialsThomas Craven Film Corp.In Production: Food Fair Markets, Detroit, steak 1, W. B. Doner & Co.; Yardley ofLondon cosmetics), Johnstone.

Keitz & HerndonCompleted: Arkla-Serve) 1 gaslite I, R. K.Butcher & Assoc.; Millikens Bakeries,SC1; Linz Jewelers, direct.In Production: Dr Pepper Co. (beverage),Grant; Seven -Up Co. beverage), direct:Coca-Cola Co. 1 beveraget. McCann-Erick-son, Inc.; Doktor's Nasal Spray, Bev.Advertising; Seven -Eleven Food Stores,Stanford Agency; Kenner Toys. LeonardNI, Sive & Assoc.: Lone Star Gas Com-pany (gas products). BBDO; SouthwesternBell Telephone Co.; direct; Buick Div. ofGen. Motors (Buick), SCI; Wolf BrandChili, Crook Advertising; Braniff Inter-national, direct; Houston Post (news-paper), Goodwin. Dannenbaum, Littmen& Wingfield; Banta. Savage, Kerr & Mc-Millen; Ft. Worth Star Telegram 'news-paper) , Goodman & Assoc.

Paul Kim -Lew GiffordCompleted: Manufacturer's Hanover Trust,Y&R; Schaefer Brewing Co., BBDO:Armstrong Cork Co., BBDO; ContinentalCan Co. ( (ware). BBDO; EastmanKodak Co. (professional photog. Carouselslide projectors), JWT; Frito-Lay Ruffles,Y&R; Burry Biscuit Co., JWT.In Production: R. J. Reynolds TobaccoCo. (Winston), William Esty Co.; Manu-facturer's Hanover Trust, Y&R; ChryslerCorp. (driver education and Dodge Bill -

FILM OPTICALS INC. NEW YORK 117.7120

KEY TO QUALITY

optical photography

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boards), BBDO; Prudential Insurance Reach, McClinton: Wall Street JourBBDO; Insurance Company of NoAmerica, N. W. Ayer; American IronSteel Institute, SSC&B; General ElectricBBDO; Kodak Verifax Copied, J WT,Burry's (Scotter Pie). JWT.

Gerald Schnitzer Productionscompieted: Kodak photographic prodnets). Jw.r.In Production: Atlantic -Richfield Corporalion ( Petroleum Products), N. W. Ayer ISon, Inc.; Black & Decker (power tools)VanSantDugdale & Co., Inc.

Mark Shaw Associates, Inc.(:ompleted: Transogram I Nlotorama ). Fuller. Smith & Ross; Transogram I Hockey)Fuller. Smith & Ross; American Character'Bonanza). Helitzer. Waring & Wayne;American Character 10071. Helitzer, Waring & Wayne.In Production: Dow Jones I National 01),erver I. Wunderman. Ricotta & Kline.

Stars & Stripes ProductionsForever, Inc.Completed: Frito-Lay Corp. (Frit,' DipMix). Foote, Cone & Belding; Menley& James IContac), Foote, Cone & Belaing; S. New England Tel. Co. (long di*Cancel. BBDO; General Mills (Kix),1) -F -S; The Dickey Corp. (Dickey Snacks),Klet-k Assoc.; Sheraton Hotels, I)BDO;Boston Globe Corp. (The Boston GloBBDO; First Nat'l Bank of Boston lbness bank), BBDO.In Production: New England Life Inance, BBDO; Menley & James (ContFoote, Cone & Belding; Standard Oil(Standard gas), D'Arcy; S. New EnglandTel. Co. )yellow pages), BBDO; PhilipMorris Co. (Clark's Gum), Leo Burnett;Mass. Bay United Fund (United FundDrive), BBDO; Frito-Lay Corp Frito's),Foote, Cone & Belding.

The TVA Group, Inc.Completed: C & P of Washington telltuipages), N. W. Ayer & Son; Chevrolet(Chevy 11), Campbell -Ewald Co.In Production: The Coca-Cola ExportCorp. ( Minute Maid), The Nlarschalk Co.;Speidel Corp. (British Sterling), ThrNlarschalk Co.; Lea & Perrins (Worcester-shire Sauce), Rumrill-lloyt Co.; Oldsmo-bile (Toronado). D. P. Brother & Co.;Chemstrand I 1,1 ionwear), Doyle, Dane,

Bernbach. lite.; Chevrolet (Impala),Cain pbellEm a Id Co.; C -E (Toothbrush),Clyne -Maxon, Inc.

Lou Lilly Productions, Inc.Completed: Ronal Crown Cola (beverage),D'Arcy Advtsg.: Mattel, Inc. (toys), Car-son/ Roberts/ Inc.In Production: Royal Crown Cola Lever.

age), D'Arcy Advtsg.; Mattel, Inc. I toys),

Carson/ Roberts/ Inc.

Tele-Tape ProductionsCompleted: Bankers Trust (bank set-% ices).

Doyle Dane Bernbach.In Production: Frito Lay, Inc. (PotatoChips & Ruffles), Y&R; Ronson Corpora-tion (Carve 'N' Slice electric knife), Smith

& Dorian, Inc.


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ABC's Wide World of Sports ABCABC Sat 5 J. B. Williams, Bris-tol-Myers, participating

AFL Football NBC Sun 2:00 part.AFL League Report Sat NBC 5:30Amateur Hour CBS Sun 5:30

J. B. WilliamsNew American Bandstand ABC Sat

1:30 Heinz, Carter, Vick, part.Andy of Mayberry CBS MF 11

ParticipatingAnimal Secrets NBC Sat 1 part.

Another World NBC M -F 3 part.

As The World Turns CBS M -F 1:30P&G, participating

A Time For Us ABC fot-F 2:30 part.

Atom Ant NBC Sat 9:30 participating

The Beagles CBS Sat 12:30 part.

Beany & Cecil ABC Sun 10Multiple Products, Gen Foods,participating

'ha Beatles ABC Sat 10:30 Deluxe,Nabisco. Alberto-Culver part.

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Beverly Hillbillies CBS M -F 10:30participating

Bugs Bunny ABC Sat 12Deluxe, participating

Bullwinkle ABC Sun 11 Deluxe, Gen.Foods, participating

Camera Three CBS Sun 11 part.Candid Camera CBS M -F 10 part.Captain Kangaroo CBS MF 9 part.Concentration NBC M -F 10:30 part.Cool McCool NBC Sat 11 part.Countdown to Kickoff CBS Sun 1:45Dark Shadows ABC M -F 4 part.

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SATURDAYABC CBS

KingKong

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Discovery '66 ABC Sun 11:30Multiple Products, Gen. Foods,participating

The Doctors NBC M -F 2:30participating

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participatingThe Edge of Night CBS M -F 3:30

participating

Eye Guess NBC M -F 10 participating

Face The Nation CBS Sun 12:30

Father Knows Best ABC M -F 12:30Colgate, Brackett, M&M

Frankenstein, Jr. & The ImpossibleCBS Sat 10 participating

GE College Bowl NBC Sun 5:30 part.

General Hospital ABC M -F 3 part.The Guiding Light CBS M -F 12:45

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Hollywood Squares NBC M -F 11:30participating

Hoppity Hooper ABC Sat 1 part.

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participatingNews ABC M.F 2:55, 4:25News CBS M.F 12:25, 3:25 part.News NBC M -F 10:25, 12-55, 1:55,

4 25 participatingThe Nurses ABC M -F 3:30Pat Boone NBC M -F 11 part.Password CBS M -F 2 participatingPeter Potamus ABC Sun 10:30

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Secret Squirrel NBC Sat 10 part.The Secret Storm CBS M.F 4 part

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participatingSwingin' Country NBC MF 12:30

participatingTennessee Tuxedo CBS Sun 4:30

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participatingTom and Jerry CBS Sat 1

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le only comprehensive, authoritative, up-to-datedirectory of buyers and suppliers

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Contents inciuue. FILM/TAPE PRODUCERS, U. S. & Cdmikla huLlut,c1. .

national Producers . . COSTUMING . . . Editing Services . . . EQUIPMENT & SUPPLIES . .

Film Labs . Film Ray. & Print Stock . . Film Repair & Restoration . . . Film Storage, (Is

tribution & Print Service . . FREE FILM DISTRIBUTION . . Graphic Arts . . . GUILDS AND

UNIONS . . . Insurance . . . Make Up MONITORING SERVICES . . . Music Libraries andSound Effects ... Optical Effects Piup Rent,3, Screening Rooms ... Set Construction

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BUYERS OF INFORMATIONAL/INDUSTRIAL FILMS.

A SERVICE OF TELEVISION AGE $2.00 per cop)1270 Avenue of the Americas, New York, N.Y. 10020

OCTOBER 10, 1966

TELEVISION AGE

uho says station rates are arbi-IF trary numbers? At least onetion-WTOP-TV Washington, D.C.boasts a rate card with numberstt mean something. The message?i in the last digit of the rate, andtells the length of the announce-nt purchased. Huh? Well, if thee is $606, the announcementgth is 60 seconds; a rate of $522ans that a 20 -second spot is forth-

c ning; and $281 says that muchwi paid for a 10-crond (really 8-soond) ID. The s..tem works not

1. y for the base rate. but through.

all the discount plans as well..dWhat's the reason? It helps wheny i continually get 60 -second copywen a 20 -second spot was ordered,sts the station. And, it helps saya,ncy traffic departments, when thecounercials for a product come inthe different lengths and you don'tIchw which was scheduled on ascion. In short, the card is a stepit aiding communication betweenil station and its advertisers by

a review ofcurrent activityin nationalspot tv

making numbers an audible-ifsomewhat cold-signal.

* * *

Wonder where those advertisingdollars that haven't been reachingspot markets are going? The latestTvB billing figures indicate some arefilling the network coffers. Augustnetwork billing figures rose from

At Ted Bales & Co., Inc., SteveSpires buys on American HomeProducts' Anacin.

REPORT

$78.8 million in 1965 to a healthy$88.1 million for 1966, an 11.8 -per -cent gain. The biggest area ofgrowth was Monday -Friday daytime,which jumped from $18,972,800 to$24,651,100, up 29.9 per cent. Thisrecord gain followed record increasesfor the months of June and July aswell, making it anything but a long,hot summer for the networks.

Among current and upcoming spotcampaigns from agencies and adver-tisers across the country are thefollowing:

American Home Products(Ted Bates & Co., Inc., N.Y.)Fourth-quarter activity for ANACINwill break in about 50 markets. The serieswill consist of fringe 60's. Steve Spiresand Mike Kaufman buy. In addition,various American Home products willbe piggybacked in 60 markets duringthe same period. The buyers are MitchTurner, Jim Kelly and Larry Nathanson.

American Home Products(Compton Advertising, Inc., N.Y.)SANI-FLUSH and GRIFFIN SHOE


T..vision Age, October 10, 196665

YOU ONLY NEED ONEMiTAPE PRODUCTION SOURCE BOOK

En<looted .5 pormem to, I sc.

NAME

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tor 5 ,01.3 es

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NAME

ADDRESS

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STATE

Enclosed po,rnent tor o cop e,

ADDRESS

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Ee,tosed porment lof 4 ..op.15

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FILM/TAPE PRODUCERS

COSTUMING EQUIPMENT & SUPPLIES

f lm Labs Film R. & Pr" ' ' Storage. D.s

t.ibution & Print Ser. FREE FILM DISTRIBUTION Graphic Arts GUILDS AND

UNIONS Ins..:Tince MONITORING SERVICES Music Libraries and

SuJnd Ettects Screening Rooms Set Construction

Scenrc Suppler, SOUND RECORDING Special Ettects Props STAGE

RENTAL - TALENT AGENCIES Talent Anil' i s TITLES AND

ART Video Tape StqVICe, ADVERTISING AGENCY COMMERCIAL PRODUCERS

BUYERS OF INFORMATIONAL 'INDUSTRIAL FILMS_

A SERVICE OF TELEVISION AGE $2.00 Per Lop,

1270 Avenue of the Americas. Neh lurk, N Y 1002C

OCTOBER 10, 1960

TELEVISION AGE

ju ho says station rates are arbi- trary numbers? At least oneition-WTOP-TV Washington, D.C.boasts a rate card with numbersat mean something. The message?s in the last digit of the rate, andtells the length of the announce-mt purchased. Huh? Well, if theto is $606, the announcementgth is 60 seconds; a rate of $522sans that a 20 -second spot is forth-ming; and $281 says that muchIs paid for a 10 -second (really 8-

!sand) II). The system works notly for the base rates but through -

1 all the discount plans as %%ell.

What's the reason? It helps whenu continually get 60 -second copyten a 20 -second spot was ordered,

s's the station. And, it helps sayEtncy traffic departments, when thecnmercials for a product come intee different lengths and you don'tkow which was scheduled on astion. In short. the card is a step

1'

aiding communication between. station and its advertisers by


a review ofcurrent activityin nationalspot tv

making numbers an audible-ifsomewhat cold-signal.

* * *

Wonder where those advertisingdollars that haven't been reachingspot markets are going? The latestTvB billing figures indicate some arefilling the network coffers. Augustnetwork billing figures rose from

At Ted Bates &Spires buys onProducts' Anacin.

Co., Inc.,American

SteveHome

REPORT

$78.8 million in 1965 to a healthy$88.1 million for 1966, an 11.8 -per -cent gain. The biggest area ofgrowth was Monday -Friday daytime,which jumped from $18,972,800 to$24,651,100, up 29.9 per cent. Thisrecord gain followed record increasesfor the months of June and July aswell, making it anything but a long,hot summer for the networks.

Among current and upcoming spotcampaigns from agencies and adver-tisers across the country are thefollowing:American Home Products(Ted Bates & Co., Inc., N.Y.)Fourth-quarter activity for ANACINwill break in about 50 markets. The serieswill consist of fringe 60's. Steve Spiresand Mike Kaufman buy. In addition,various American Home products willbe piggybacked in 60 markets duringthe same period. The buyers are MitchTurner, Jim Kelly and Larry Nathanson.

American Home Products(Compton Advertising, Inc., N.Y.)SAM -FLUSH and GRIFFIN SHOE


65

beautiful, color -fullsales scene... rif

MULTI -CITY TV MARKET

L ANC ASTER

316,000 WATTS

Channel 8 is one of the country's most, effective color sta-tions. Its multi -city market-including Lancaster, Harris-burg, York, Lebanon-has reached 19%* color penetration.All local programs are colorcast live, on film, or via color taperecorders. It is an NBC full color affiliate.

This statistic is based on June 1966 Nielsen estimates and subject to inherent limitationsof sampling techniques and other quallficationx issued by that company. available upon request.

WGAL-TVCHANNEL 8Lancaster, Pa.

Representative: The MEEKER Company, Inc.New York Chicago Los Angeles San Francisco

Steinman -T-x/i sic) r--1 Btatic I -1E3 Clair McCollough, Pres.WGAL-TV Lancaster -Harrisburg -York, Pa. KOAT-TV Albuquerque, N.M.

WTEV New Bedford -Fall River, Mass./Providence, R.I. KVOA-TV Tucson, Ariz.

(01 Television Age, October 10, 1,4,6

One Seller's Opinion . . .

THE UNWRITTEN WORD

Waiting around in a reception room recently, another salesman beganbending my ear with an all -too -familiar story. This was about somebusiness he had lost at one of his agencies-business that he shouldhave had, and would have had if . . .

The it in this case was a second buyer. The rep had already madea detailed proposal to one buyer. He did it in person because the stationhe was pitching is in a multi -city combination that comprises an areamarket. And in addition the setting was mixed vhf/uhf. For a properevaluation, both buyer and seller agreed that a detailed explanation wasnecessary. Questions came up and were immediately and properlyanswered.

But a few days later the buy was completed, and the salesman foundout on checking back that he had lost the order. Why? The buyersuddenly found himself facing a deadline and had to farm out someof the markets. Another buyer wound up with the folder on the rep'smarket. Unaware of the complexities, he went by the only guideline hehad-the rating book-and placed the business elsewhere.

This same situation is applicable to many pitches given to one buyer,and then someone else takes over the buying. There are intangibles thatcan't be put into writing on the avails sheet, and when these are lost,the client is the one who suffers the most. Want some examples?

How about the women's service programs that are live -hosted andmaybe have only mediocre ratings? For years they usually have beenselling advertisers' products through personal effort at club meetings,supermarkets, etc. Or take kid shows that have a loyal audience and atop personality-maybe they're not number one in the time slot, butthey have proven ability to move merchandise. Many times, to convin(the buyer, the seller has to come in armed with the letters of praise fromadvertisers, with photographs of the mob scenes at a personal appear-ance, and so on.

Sometimes a special "understanding" exists between buyer and sellerwhereby the station will take care of various "extras" to insure the suc-cess of an advertiser's campaign. These may not be organized promo-tional activities: they might vary from client to client or be spur-of-the-moment in nature-maybe like having a guy dressed like The GreenGiant dash out on a local football field at halftime. In the rush of tryingto get things done, the unwritten words are often not passed on to theback-up buyer. It can be argued that an efficient buy based on numbersalone doesn't do any "damage" to a campaign. It does, if it disturbsa balance between buyer and seller that can't be repaired.

"Farming out" dilutes the effectiveness of the personal pitch, andmany times results in a buyer who's disinterested in the results sincehe knows he's only been thrown in to get a job done-and will move onto something else.

NEW

MUSCLE

FOR

WSBT-TV

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America's oldest UHF station is nowone million watts strong - and stillgrowing! The maximum radiated powerfor WSBT-TV, South Bend, has beenincreased two -fold, and another powerboost is coming. Early next year we goto 2,175,000 watts, again more thandoubling our power!

Since going on the air almost 14 yearsago WSBT-TV has been the leader inSouth Bend television. Now we offeryou even more - - - New viewers! Newmarkets! New sales potential! Writefor all the details, or see Katz aboutthe new muscle that South Bend'.1047 ft. tall giant has developed.

400 AMU, 114/T V IN SOUTH BINDWSBT.

Represented By Katz


Spot (Continued from page 65)POLISH will be pushed in about 30markets during the fourth quarter.The campaign will consist of minutes and30's. Peter Manley is the contact.

American Petrofina Co. of Texas(Geer, Dubois & Co., Inc., N.Y.)A four -week campaign on this company'sgasoline will break on October 31.About 36 selected markets will carry theprime and fringe ID's. Joy Sliwa and011ie Einstein do the buying.

American Tobacco Co.(Gardner Advertising, Inc., N.Y.)A five -market spot campaign willsupplement a network buy for ROI-TANCIGARS. The six -week drive will usemostly prime 20's. Rosemarie Vitanzais the buyer.

Best Foods,div. of Corn Products Co.

(Foote, Cone & Belding, Inc., N.Y.)NUSOFT fabric softener will be in 25to 30 spot markets starting in earlyNovember. The campaign of minutes, 30'sand piggybacks will continue for sevento eight weeks. Mort Weinsteindoes the buying.

The Borden Co.(Needham, Harper & Steers, Inc.,

N.Y.)Fourth-quarter activity on a new product,Borden's COFFEE COMBO, will consist of

flights in two test markets, Scrantonand Columbus. Fringe 60's will be used.Doug Spellman does the buying.

Milton Bradley Co.(Harvey & Carlson, Inc., N.Y.)Pre -Christmas activity on this toycompany's games will begin at the end ofOctober and continue for eight weeksin 37 markets. Minutes will run primarilyduring children's shows. In addition,the same 37 markets will be carrying1D's for the TIME BOMB toy for fromfive to eight weeks beginning at the endof October. The ID's will be prime,fringe and during children's shows.Jane McCarthy is the buyer.

Carter Products, Inc.(SSC&B, Inc., N.Y.)A three-month push for CARTER PILLSbegan on October 1. About 50 marketsare carrying the early and late fringepiggybacks. Bob Ubaldo is the buyer.

Coca-Cola Co.(Marschalk, Inc., N.Y.)Another 100 -market buy for HI -C willbegin on October 17. The four -weekpush, geared to kids and women, will useearly fringe minutes. The buyeris Vince Tortorelli.

Colgate-Palmolive Co.(Ted Bates & Co., Inc., N.Y.)RESPOND HAND LOTION will bepushed in 26 Pacific Coast marketsfrom the middle of October '66 toOctober '67. A combination of fringe 64). -

There are washings ....

Rep ReportDICKENS J. WRIGHT JR. joined the

tv sales staff of Katz TV West. Hewas previously with Venard, Torbet

MR. WRIGHT

& McConnell and Robert E. East-man.

ALBERT L. STRADA was named anaccount executive in the New Yorkoffice of Peters, Griffin, Woodward,Inc. He was formerly in a similarposition at Adam Young, Inc., andprior to that was a timebuyer onGeneral Mills at Dancer -Fitzgerald -Sample, Inc.

Then, there are washings!

Like the washing and lubrication our film departmentgives every frame of film before it is aired ... kidglove treatment that assures programs, commercials,public service or promo films quality performancealways. Call your Petryman for your washing day.

1


Ole .BARRY LEWIS

I f media buyer Barry Lewis hadanything to say about it, rep sec-

retaries would get more recognition.How come? "In many cases, repsecretaries are very helpful in clear.ing schedules placed through the

representatives." he says.Although he's aware that reps are

)(ten pressured by having to handleeither too many agencies or too manyItations. Mr. Lewis feels that a

camber of reps work out of theirdikes when they should be at thetgencies. "I see some of them everylay, but certain ones won't be here'or three or four weeks. And sur-trisingly enough, it's the latter'sitations and markets that are usuallylading. There seems to be a pattern,:no, between reps who don't spendenough time at the agencies and themes who always send avails in late,"lays the BBDO media buyer.

Mr. Lewis has been at the agency

or the past year, and now buys on

Warner -Lamberts Bromo-Seltzer andEfferdent. He spent the prior yearat ABC Guest Relations after beinggraduated from Syracuse Universitywith a degree in radio and television.

The agency man's philosophyabout buying explains his concernwith "the vanishing rep." He says,"An important part of buying is es-tablishing a rapport between the repand the timebuyer." Since he seesthe business as cyclical, a seller's

market one season and a buyer'smarket another, he thinks it's to theadvantage of both seller and buyerto have a good working relationship.

Dealing with the reps in person,be says, can cut down a lot of thevoluminous paperwork in spot buy-ing. "If I know that a rep will bearound the agency, we can iron outthe difficulties that come up in aspot buy a lot faster, especially bill.ing problems." Whether reps arearound the agency or not, though,Mr. Lewis objects to those reps whocontinually offer "hooker" spots tosell a package. "If that happens toooften, a buyer is skeptical of allavails submitted by that rep."

When he gets out from under atBBDO, Mr. Lewis spends time withhis family in Flushing-either beam-ing over his newborn son, or scrut-inizing the stock market page. Whentime permits, he also enjoys goingto the race track, a carryover fromthe two years he spent as assistantdirector of publicity at VernonDowns race track while he attendedSyracuse.

,eiti(e7 touch

WFAA -TVThe Quality Station serving the Dallas -fort Worth Market

ABC, Channel 8, Communications CenterBroadcast Services of The Dallas Morning News

Represented by Edward Petry & Co., Inc.

elf lision Age, October 10, 1966

69

Agency AppointmentsDAVID M. MIXTER was elected a

senior vice president and namedsenior group head of the house-hold products division of the Col-gate-Palmolive account group at TedBates & Co., Inc. Mr. Mixter joined

Ass ssiets-as,1

MR. MIXTER

the agency as an account executiveon Colgate in '62 and was appointedvice president and account super-visor for the household division in'63. He was with Benton & Bowles,Inc., for 13 years before that.

Three account supervisors in theNew York office of Foote, Cone &Belding, Inc., were named vice pres-idents. They are: JOHN W. ANGUSJR.; GREGORY P. FITZPATRICK andJuosoN J. R. MORRIS JR.

E. CHRISTIAN SCHOENLEB, WILLIAM

C. PULLMAN and ALAN S. MINTZ wereelected vice presidents of Needham,Harper & Steers, Inc. Mr. Schoenlebis an account supervisor on GeneralMills; Mr. Pullman is an accountsupervisor on Kraft Foods; and Mr.Mintz is an associate creative direc-tor. The agency also named JOHNMCKINNEY an executive producer inthe New York creative department.He was most recently at Ted Bales.

WILCKES BIANCHI was elected a

senior vice president of Geyer,Morey, Ballard, Inc. He joined theagency in 1965 as a vice presidentand account supervisor on SinclairOil Corp. He was previously vicepresident at J. Walter Thompson.

At Clyne Maxon, Inc., ronat.sr°west JR., currently regional man-ager in Chicago of parent companyBBDO, Inc., became president. C.Terrence Clyne, chairman of theboard and president of Clyne Maxon,Inc., will retain his title as boardchairman and chairman of the ex-ecutive committee. DOROTHY ADAMS,ED GRISWOLD and HAL STRAUSS were

elected executive vice presidents.

WILLIAM C. AISTON was named tosucceed Forrest Owen Jr. as man-ager of BBDO, Chicago. Mr. Aistonhas been with the agency since 1963as a management supervisor andlater as a vice president. BBDO,Inc., also appointed San Franciscohead art director HAL P. RINEY andToronto account supervisor ROSS L.BROWN vice presidents and namedF. A. (TONY) LENAHAN, managingdirector of the Milan office. Mr.Lenahan was formerly managing di-rector of Lintas-Italia, the Unileverowned advertising agency in Milan.

COLGAN SCHLA..K was named a vice

president in the radio-tv depart -

MR. SCHLANK

meat of Young & Rubicam, Inc. Hehas been with the agency since 1955.

Cunningham & Walsh, Inc., elect-ed WILLIAM J. CAIN and FLETCHER F.OAKES vice presidents. Both men areaccount supervisors in the agency'sSan Francisco office.

Slier (Continued from page (68)

and 30's will be used. The company'smouthwash, COLGATE 100, has beenin 50 top spot markets since thebeginning of September. The campaignof 60's and 30's will run through theend of November. Buying was outof the Colgate spot pool.

Colgate-Palmolve Co.(Norman, Craig & Kummel, Inc.,

N.Y.)Colgate's new instant pudding, MR.PUDDIN'HEAD, will be tested inSt. Louis and Cincinnati from Novemberthrough the end of the year. Minutesfor the new product will run in Saturday

morning, Sunday morning and after -schooltime slots. The company's other newproduct, SNAPPLES, an apple -chipproduct, has cancelled out of its six-monthpush in Syracuse, Utica, Binghamton andWatertown. Sandy Polinsky is the contact.

Continental Baking Co.(Ted Bates & Co., Inc., N.Y.)A four -week push for PROFILE BREADbegan breaking the beginning of thismonth in about six markets. Start dateswere varied depending on the market.Day and fringe minutes and someprime 20's are being used. MargritMeinrath does the buying.

General Cigar Co.(Needham, Harper & Steers, Inc.,

N.Y.)There will be fourth-quarter activity onthis company's CORINA line, featuringLARK, OLE, and BARON, in 15 markets.The campaign will use fringe minutesand prime 20's. Doug Spellman buys.

General Foods Corp.(Young & Rubicam, Inc., N.Y.)The following GF products have currentand upcoming spot activity:BIRDSEYE SUPREME, a five -weekcampaign of fringe minutes beginningon October 17; BIRDSEYE SPECIALVEGETABLE, fringe piggybacks and60's in the top ten markets for sevenweeks, breaking at issue date; JELLOGELATIN, which launched a 12 -weekdrive of fringe 60's in 30 markets at theend of September; and LOG CABINSYRUP, which went into spot with dayand fringe 60's and 30's in 36 marketson October 3. The buyers are: BarbaraBarnes for Birdseye Supreme; JulioBuonafede for Birdseye Special Vegetable;Burke Libert for Jello Gelatin; andDon Slement for Log Cabin.

Humble Oil & Refining Co.(McCann-Erickson, Inc., N.Y.)The latest in the gasoline -money gamesis this company's TIGERINOPROMOTION which was launched inspot during September. To date, about16 markets have been picked up, withan additional nine or ten carrying theprime 20's as of this month. The drivewill last four weeks. Don Garveydoes the buying.

International CoffeeOrganization

(McCann-Erickson, Inc., N.Y.)This company's second coffee pushI the first was last January) will belaunched in spot on October 17. A totalof $5.5 million will be expended topromote the "Think Drink" campaign,aimed at young people. Besides netwothe tv series will run for 23 weeks inNew York, Los Angeles, Chicago.Philadelphia, Boston, Detroit, SanFrancisco, Cleveland, Pittsburgh,Washington, D.C., St. Louis, Dallas/Ft.Worth, Minneapolis/St. Paul andIndianapolis. Bob Turner is the contact

Lehn & Fink,div. of Sterling Drug, Inc.

(Kenyon & Eckhardt, Inc., N.Y.)A pre -Christmas push for TUSSY

70 iiTelevision Age, October 10, 1966

In a three -station market, KFDM-TV CONSISTENTLY delivers the most (use the ratingservice of your choice). You get the highest possible television buying efficiency in thisprosperous, growing Texas Gulf Coast market. The reason is simple. KFDM-TV hasundisputed leadership in experience, programming facilities and local production. Whenplanning your media buys, you'll receive the Media Buyer's Hero Award for buyingefficiency -if you begin with KFDM-1V, Channel 6. PETERS, GRIFFIN, WOODWARD

CHANNEL 6 BEAUMONT, PORT ARTHUR, ORANGE, TEXAS S

you getthe mostonKFDM-TV

levision Age, October 10, 1%6

MIDNIGHT FRAGRANCES will beginon November 27. About 24 markets willcarry the prime 20's during the four -weekrun. Louise Gainey buys.

Lever Bros.(BBDO, N.Y.)October 16 is the start date for activityon MRS. BUTTERWORTH SYRUPand SWAN LIQUID in 130 markets.The late fringe piggybacks will continuefor five or six weeks. VirginiaConway and Sue Baron do the buying.

P. Lorillard Co.(Grey Advertising Agency, Inc.,

N.Y.)October 24 is the break date on activityfor KENT CIGARETTES. The eight.1%,(4,

11111

drive in about 30 markets will use prime20's and ID's and fringe 60's. BernardBaskett buys. The company's ERIKCIGARS are also in spot tv in abouta dozen markets. The 16 -week campaignbegan on October 2, using early and latefringe minutes and prime 20's. JeffKelson, Marty Chapman and BillBarrett do the buying.

P. Lorillard Co.(Lennen & Newell, Inc., N.Y.)Start date on a six -week campaignfor TABBY CAT FOOD was October 2.Mostly daytime 60's are running in Bangor,Me., Boston, Hartford/New Haven, NewYork, Philadelphia, Portland, Providenceand San Francisco. Betty Whalen is

Who's Whoin Des Moines

Television?

re COLORFUL 13 DES MOINES, IOWA

Represented Nationally by Peters, Griffin, Woodward, Inc.

National Mills,div. of U.S. Industries

(Papert, Koenig, Lois, Inc., N.Y.)A six -week campaign for ROUND -THE -

WORLD STOCKINGS was launchedon October 2. Three or four markets arecarrying the prime 20's and fringe minutes.Barry Nolan is the buyer.

Noxema Chemical Co.(SSC&B, Inc., N.Y.)Testing on NOXEMA THERA-BLEMin three markets began in mid -September.The prime and fringe 60's will continuefour to six weeks. COVER GIRL willalso be in spot as of October 10. Thesix -week drive in 15 selected marketswill use prime, and early and late fringeminutes. Peter Finch is the buyer.

Ocean Spray Cranberries, Inc.(Doyle Dane Bernbach, Inc., N.Y.)A four -week campaign for CRANAPPLEJUICE began on October 3. Daytimeminutes are running in 20 markets.The contact is Jim Mellen.

Pet Milk Co.(Gardner Advertising Co., Inc., N.Y.)A series of flights for MUSSELMAN'SAPPLESAUCE is being planned for thebeginning of 1967. Fringe 60's will beused in 20 to 25 markets. The contactis Bob Robe.

Pharmacraft Labs.(Doyle Dane Bernbach, Inc., N.Y.)October 31 is the start date for activityon both ALLEREST and FRESH.Approximately 25 top markets willcarry the fringe and day 60's and someprime 20's for a six -week period.Ted Mazzucca and Bob French arethe buyers.

Phillips -Van Hensel, Corp.(Gumbinner-North, Inc., N.Y.)A pre -Christmas push for PASSPORT360 men's toiletries will be launchedat the end of November in 100 markets.Prime 20's and piggybacks with VANHEUSEN SHIRTS in some markets willrun during the three -or -four -weekcampaign. Gale Gilchrest does the buying.

Procter & Gamble Co.(Compton Advertising, Inc., N.Y.)Campaigns for CASCADE and DASHbegan in mid -September. The productswill be piggybacked with each other andwith a number of other P&G productsin the 40 markets being used. In addition,60's will run in New York. BarryHodges buys.

Quaker Oats Co.( LaRoche, McCaffrey, McCall, Inc.,

N.Y.)October 23 is the pushoff date foractivity on this company's new INSTANTQUAKER OATMEAL. The spot buy,running until the end of the year, willsupplement heavy network exposure.Early and late fringe minutes will berunning in 52 markets for the cereal.Jim McCollom and Warren Means buy.

72

TTALT.L.


Ine Ownership

IKVII-TVAmarillo

129,500 netweekly circulation

yes!When you combine the three John Waltontelevision station markets, the net weeklycirculation of over 340,000 homes is equiv-alent to that of Denver, Colorado.

Only the John Walton stations deliver theentire Southwest Texas area with ABC andcolor programming in each of the threemarkets.

One Network

KELP -TVEl Paso


One Buy

KVKM-TV servingMonahans/Odessa/ Midland


THE JOHN WALTON STATIONSKVII-TVAmarillo,

Texas

KELP -TVEl Paso,Texas

KVKM-TVMonahansiOdessa/Midland

Texas

Radio: KVOD, Albuquerque, N. M.; KFIF, Tucson, Arizona; KELP, El Paso, Texas; KVKM, Monahans, Texas

Represented Nationally by: Jack Masla & Company, Inc., 575Madison Avenue, New York, N. Y. (212) PL 2-6450 M

ievision Age, October 10, /900

Spot (Continued from page 72)

Sainsonite Corp.(Grey Advertising Agency, Inc.,

N.Y.)October 28 is the kick-off date forpre -Christmas activity on LEGO TOYS.The two -to -three-week campaign will runin 50 markets, using afternoon 60's.Mark Nagel is the contact.

Sauter Labs, Inc.(McCann-Erickson, Inc., N.Y.)A 21 -week buy for ROMILAR COUGHSYRUP breaks in 19 major markets atissue date. In addition, 15 other markets

will be picked up for a 14 -week drivebeginning on November 7. Early and latefringe minutes geared to housewives willbe used. Frank Finn does the buying.

Shell Oil Co.(Ogilvy & Mather, Inc., N.Y.)A 13 -week campaign on SHELL OILbegan last week in almost 100 markets.Fringe minutes and two minuteannouncements are being used.Joe Flanagan did the buying.

United Fruit & Food Corp.(Grey Advertising Agency, Inc.,

N.Y.)October 17 and 24 are the start dates for

Recognize these two television personalities?That's Johnny Carson, of course, on the left, "prince" of the highly -entertainingTONIGHT show on NBC-TV.You'd know Jack Thomsen, too, if you lived in WOC-TV-Land. He's the man -in -charge of the professionally -trained electronic journalists who staff the WOC-TV News Department.WOC-TV viewers count on the TONIGHT Show for entertainment. They counton WOC-TV's newscasts for complete coverage of news events in this Iowa -Illinois area.You can profit from the listening habits of Quad-Citians who prefer WOC-TVNews. (More people in WOC-TV Land get their news from Channel 6 than fromany other news source.)' Your sales message gets special attention on WOC-TV - where the news is.

Where the personalities are.wOC 6

Serving the Quad -Citiesmarket fromDavenport, Iowa

-Duaa{,t,es IDavenportRock IslandMohne) NSI, .11411 r.,. u5. ABC Sept .65

Exclusive National Representatives - Peters. Griffin, Woodward. Inc.

testing on RIGHTAWAY SALADDRESSING. The initial promotion willbe in five markets for 24 weeks,using fringe 60's. Marvin Kress isthe contact.

U.S. Rubber Co.(Doyle Dane Bernbach, Inc., N.Y.)A seven -week push for U.S. RUBBERSNOW TIRES will begin on various daysin October in 19 markets. Fringe minuteswill be used. Werner Ziegler is the contact.

Vick Chemical Co., div. ofRichardson -Merrell, Inc.

(Benton & Bowles, Inc., N.1.1A new cough drop from this company.VICK'S BLUE MINT, will be tested intwo markets for three weeks beginning onOctober 24. Early fringe and (lay minutesand 20's will be used. Ken Hite buys.with Jeff Weichel and Frank Roth a,sisting.

Ileditt I'ersonttls

BBDO, Inc., has added three to itsmedia department. I.AWRENCE SPIEGEL

was named a media planner on LeverBros. He has been with William

Esty Co., Inc., for the last two

years as a buyer on R. J. Reynoldsand Colgate. HARVEY SCHWARTZ was

appointed a media analysis trainee.He got his sociology degree fromthe University of Louisville last year.In addition, JOE GRANDA was nameda buyer on Pepsi -Cola and Schaeffer

Beer. His former associations includethree years as a buyer at McCann-Erickson and three years as an as-sistant buyer with Thompson -KochCo., Inc.

JULES FINE was named vice presi-dent and media director at Ogilvy &Mather. Inc., succeeding SAMUEL L.

FREY who was named vice presidentfor administration. Mr. Fine joinedthe agency ten years ago and hasbeen vice president and associatemedia director since 1963. Mr. Freycame to the agency in '58 as vice

president and director of the mediadepartment after spending four

years as corporate media directorat Colgate-Palmolive and eight yearsas vice president and media direc-tor at Doherty, Clifford, Steers &

Shenfield, Inc.

SUSAN ZOSS was named an assist-ant buyer on American Home Prod-

ucts at Ted Bates & Co., Inc. She

was graduated from the University

of Georgia last year with an ad-vertising degree.

7.4ilTelevision Age, October 10, "'1i"

Buyer's ChecklistNew Representatives

WAEO-TV Rhinelander -Wausau.Wis., appointed Venard, Torbet &McConnell. Inc., its national salesrepresentative, effective October 1

the station's air date.cxsA-TV Lloydminister. Canada.

named ABC International Television.Inc., its sale: repro- rotative.

Network Rate Increases

ABC-TVKBLU-TV Yuma, Ariz.. from $50 to

$75, effective March 12, 1967.KTWO-TV Casper. Wyo., front $2.)0

to $300. effective March 21. 1967.

WLBT Jackson. Miss., from $600 to$650, effective March 7, 1967.

WTHI-TV Terre Haute, Ind., from$700 to $725, effective March 12.1967.

CBS -TV

KFDM-TV Beaumont. Tex.. from$500 to $550. effective. March 261967.

KOLD-TV Tucson. Ariz.. from $27 ,to $300, effective March 26, 1967.

KOOL-TV Phoenix, Ariz., from $700to $750, effective March 26, 1967.

KTHV Little Rock. Ark., from $650to $700. effective March 26, 1967.

NBC-TVKLFY-TV Lafayette. La.. from $400

to $450, effective February 12, 1967.WAPA-TV San Juan, P. R., from

$300 to $875, effective July 1, 1967.WRDW-TV Augusta. Ca., from $425

to $450, effective February 26. 1967

Station Changes

KS00-TV Sioux Falls. S.D., ha -

been given a grant by the FCtto construct a 2,000 -foot tower inthe Rowena area, ten miles east ofSioux Falls. Both KSOO-TV and KELO-TV Sioux Falls will operate from thesame tower and antenna when tlmconstruction is completed nextspring.

Hurry, Hurry!Only a few weeks left to enter the

OLN-TV/KCIN-TV Lincoln-Hastings-earney, Neb., rating contest. Media!ople are invited to estimate. forrizes of $500 or a tv set. the sta-ons' share of homes in the newsting reports. Entry forms are avail-ble from Avery-Knodel, Inc. Theeadline on the contest is October 31.

Wrapping up the PreviewsThe start of the new season brought on a flurry of preview parties bl

stations across the country. Here are three variations on the theme.by outlets on the East Coast, West Coast and in-between.

KRON-TV San Francisco combined its preview with a construction part)held in new studios to be operational next spring. General managerAl Constant (in hard hat) explains the facility to Ellie Nelson of Botsford.Constantine & McCarty. and Peter Hall of lb -Cann -Erickson.

iht. vi I

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Pittsburgh's KDKA-TV crowded hundreds of buyers and clients aboarda floating showboat, then let them gambol and gamble (blackjack,roulette, etc.) while station personalities performed onstage and allover the decks.

lit Dallas -Fort Worth, WRAP -TV followed President Johnson's lead andtossed a barbecue bash for 500 at the Inn of the Six Flags. Generalmanager Roy Bacus (I.) and Alice Farmer (r.) ad just bibs for Mr. andlIrs. Amon Carter Jr. of Carter Publications, Inc.

elevision Age, October 10, 1966

t. ., 4

- 4 .,..-.44.---±

.

140100 4.-mmeleimr- -4,Ir eirapK.4,0141.

-,..4

UNITED STATES NAVAL ACADEMY

Annapolis. Mat,land--21402

PAO-20-M,19 September 196,

Dear Mr. Campbell:

On behalf of LOA Romano, ENS McDonnell and Mr. Horner, I

wish to thank you for the luncheon on Friday. September It. It

VAS a pleasure to join you and members of your staff for thepreview showing of "Marcellus Takes a Walk,"

As I mentioned to you. the program is excellent. It is

tastefully and effectively done. We will have everyone "Inthe Yard" prepared to watch it on Tuesday, September 27, at 8 p.m.

Mr. Skaggs of American National has promised us a print of

the film and I know It will get use both at the Academy and inother Navy offices around the country.

Again, thank you for the day and the program. We appreciate

sour support.

ry ordially,

th Oirth=ACA M. WHITELCDR, USNPublic Affairs Officer

Hr. Donald P. CampbellWMAR-TVP. 0. Mon 1957Baltimore I. Maryland

76

11 "Marcellus Takes a Walk" is another color presentation in acontinuing series of outstanding documentaries produced byWMAR-TV. Using only the station's facilities, the WMAR-TVNews -Documentary Unit developed the idea, wrote, directed,filmed and narrated the program. The film was processed onWMAR-TV's new Filmline FE -50 colorfilm processor.

Marcellus Hall began work as a bell boy in 1912 at CarvelHall in Annapolis. After serving in World War I he began con-ducting tours of Annapolis and the Naval Academy. His informaland warm style of talking endeared him to visitors. In 1965Carvel Hall was torn down but Marcellus still conducts tours."Marcellus Takes a Walk" is his tour of the Naval Academy.

No wonder... In MarylandMost People Watch COLOR -FULL

WMAR -TVCHANNEL 2, SUNPAPERS TELEVISION IS TELEVISION PARK, BALTIMORE, MD. 21212

Represented Nationally by THE KATZ AGENCY, INC.

Television Are, October 10. 1966

Wall Street Reporthe Cola Conflict. One of the fastestowing awl nn, -1 intensely competi-re areas today i- the soft drink in-istry. There's scarcely a part of the,untry where the national brandse not engaged in a terrific fight,metimes involving the smaller localdied beverages. In Atlanta recentlyme evidence of the bitterness of thettle burst out when Royal Crown

filed an anti-trust suit againsttca-Cola charging that Royal Crownd been unfairly squeezed out of theirket for soft drinks created when

National Baseball League movedBraves to that city.

But the real core of the fight in thelustry is between Coca-Cola andformer Pepsi -Cola Company, now

own as PepsiCo Inc. Since Coked been the champion for so manyars, the aggressiveness has stem -

td from the vigor of PepsiCo. It haslarked on a powerful advertisingnpaign and an expansion programwell as a diversification program.e goals are profitable ones.l'he consumption of carbonatedrerages is increasing steadily in thei. and in the world. In the U.S.isumption has mounted at an an-d rate of 8 per cent compounded. capita consumption has climbedm 184 in 1965 to 260 bottles lastr-eight-ounce bottles being theidard. Part of the per capita

its total volume and an estimated -It)per cent of its profits from abroad. Ithas subsidiaries making concentratein 18 foreign countries, with 25 com-pany -owned bottling plants and 140franchised bottling plants distribut-ing its beverages in 110 countriesoutside the United States. At presentnot all the company's beverage line isdistributed in every foreign locationbut the goal is to gain complete ac-ceptance in every possible market.The line includes Pepsi -Cola. DietPepsi, Patio, Teem and MountainDew. And the company is now mar-keting a non -carbonated milk -basedchocolate drink.

To finance the expanded distribu-tion of its product line overseas Pep-siCo took the trouble to create a newsubsidiary earlier this year, an over-seas corporation which sold $30 mil-lion of 41/2 per cent convertible de-bentures. This new unit is out to de-velop new foreign markets, not onlyfor food and beverages but also forsetting up joint ventures or acquiringexisting businesses in other fields.This move came after the companyhad acquired Frito-Lay in mid -1965.The merger virtually doubled thecompany's sales volume. The potato -

chip manufacturer had 46 processingplants in the U.S. and one in Canadachurning out a variety of tasty tid-bits marketed under such widely ad -

PepsiCo's Growth/965 1964

1961-'651963 1962 /96/Tales $310 (Millions) $456 $219 $192 $174Fornings :1.21 2.76 2.46 2.36 2.21'rice -range 83.59 63-48 38.46 56.33 59.16

wth reflects the steadily mountingHon of the U.S. population that isTer 30, which at last count wasr 50 per cent. Means% hile the olderulation is enjoying more leisuree and a rising income, both fac-that contribute to heightened softk consumption.

Khing Far and Wide. In therseas market PepsiCo is even:suer since it derives one-third of

vertised labels as Fritos, Ruffles,Chee-tos. The company also producedmeat specialty items under the con-sumer name Austex. Here, too, theemphasis is on its items that appealto the younger generation.

Trucking Firm Purchased. One ofthe early moves made by PepsiCo inits battle with Coke was to spruceup its trucking operation. To do soit entered into an agreement with

Lease Plan International, a lessor ofcars. trucks. aircraft and other equip-ment on a nationwide basis. Pepsibecame the company's biggest cus-tomer although by the end of 1965LPI leased some 50,000 cars andtrucks in the U.S. and around theworld, including Japan, South Africa,Netherlands, Puerto Rico and Can-ada. In 1966 PepsiCo acquired LPIin exchange for 700,000 shares. In-cluded in the merger was a subsidi-ary which transports mobile homesand trailers for manufacturers andother corporations. Then the newdivision was pressed into use to em-ploy its leasing know-how to the0 -rowing demand for automatic vend-ing machines and fountain equipmentto bottlers.

Now PepsiCo has disclosed negoti-ations with North American VanLines aimed at effecting a merger. Thevan company is a leading mover ofhousehold goods operating through-out the world and had gross revenuesof $62 million and profits of $2 mil-lion in 1965. The price of the mergerwould be 320,000 shares of PepsiC,,common.

Profit Outlook. The results of thisexpansion aml diversification pro-

vision Age, October 10, 1966

77

gram have been more than satisfac-tory to the PepsiCo investors. As theaccompanying table shows, the com-pany's revenues and earnings havegained dramatically. Meanwhile inthe first half of 1966 profits rose 7per cent on a sales increase of 14 percent. There were a number of factorswhich prevented the company fromshowing a more dramatic improve-ihent. There was a strike affecting thecompany's wholly -owned Metropoli-tan Bottling Co. in New York whichowns 18 bottling plants in the U.S.The strike lasted for eight months andcut sharply into the profit picture. Atthe same time a new sugar refinerybuilt in Montezuma, N.Y., which wasscheduled to open early this year willnot open until spring of 1967. Thedelay added expenses to the com-pany's operating budget. Finallythere was an unusually low profityield from the processing of potatoesbecause of high prices paid.

With all these problems resolvedor nearly so, it is estimated that in1966 the company will earn about$3.50 per share, a jump of 9 per centover a year ago. For 1967 the an-alysts are expecting earnings of $4per share. If the van line merger iscompleted before the end of the fis-cal year it may add 10 cents pershare to the total earnings. The stockhas been traded at prices which indi-cate a price of 18 times the expectedearnings. The dividend of $1.60 pershare yields a dividend of about 21/2per cent.

Richard Zagrecki, recently named tothe new post of manager, media andsales research at Liggett & MeyersTobacco Co., was formerly withColgate-Palmolive Co. as supervisorof media research.

Costs (Continued from page 44)

existing $8; for units 11-20, thecost is to be $6 each, versus $5;for units 21.25, the cost is to be $4each, versus $3, and for each unitbeyond 25, the cost is to be $2, ver-sus the present $1.25.

What does all this mean to the ad-vertiser? The user of a wild spot incities now totalling 20 units wouldfind he must pay $230 instead ofthe $195 he has been paying-andchances are his spot would be shownin hall as many cities. If he is accus-tomed to buying airtime in marketsthat previously totalled 20 units-say, Detroit, Philadelphia, San Fran-cisco, Boston, Pittsburgh, Baltimoreand Cleveland-for which he paideach actor $195, those same citieswould (under the new contract)total 42 units and each actor wouldreceive $284.

`Little Tiny Things'

That is but one indicationkind of proposals the talentwill lay before themakers. As is customary before bar-gaining begins, both sides have beenwary of predicting how much give-

and-take will occur before a newagreement is reached. The talent side,of course, was optimistic, withSAG official telling TELEVISIONthat the increases asked for

of theunions

commercials

oneAGE

are"such small, little, tiny things whenyou see big companies paying $50,-

000 or $100,000 to a name actor fora one -minute commercial."

Taking another look at some ofthe "small, little, tiny things" thetalent unions are asking for, pro-posals include substantial increasesfor payments to actors in spots ap-pearing in the "special" markets ofNew York, Chicago and Los Angeles,either singly or in combination withother markets. For 13 weeks' use inone of the three cities now, an on -camera player gets $230; under the

proposed contract, he would get

$275. For two cities, he now gets$320 and would get $350. For allthree cities he now gets $360 andwould get $425. In percentages, theincreases run 18-19 per cent.

Sizeable as that sort of increase is,

the true significance of the unioproposals hit hardest the advertistwith a commercial that featuresay, as many as four principal peformers on camera and one off -canera announcer-and runs in the to50 markets for 13 weeks. This woulcost the advertiser $2,436.50 unclethe existing contract. According a

the proposals put forth by SAG,AFTRA, it would cost a minimum t$2,833.50 under the new contracwere it to be accepted in toto. Tlincrease is roughly 17 per cent %hiemakes the Presidential "guideline'seem laughable.

Although the talent unions al

seeking similar wage increases ft

all types of performers-on-cameroff -camera, musical groups-and ftall kinds of commercials-wild spotprogram commercials, dealer con

mercials-there are other matte!

they want to see improved. This inself is helpful from the "manapment" side of the bargaining tablesince by giving in on some of thside issues it is often possible t

secure lowering of the demands f1wage increases.

Other Proposals

Among some of the other proposalthe unions would have the industragree on:

Increased pension contribution-from five to eight per cent.

Showing of commercialCanada and Mexico would requiradditional payments. The curren

contract permits showing in Canadand Mexico along with the l site,

States at the same rate. The maximum period durin,

which a commercial can be use.

would be shortened from the presen18 months to 12 months. This woul'

naturally result in more commercia.being made and more employmenfor talent, the unions believe.

Piggyback commercials of al

most any kind would result in tales

being paid as if they appeared in tW'separate commercials. In the word.

of the proposal: "When a commerciaincludes the depiction or mention 0more than one sponsor or advertis

er's name. product or service, fill


separate additional fees, includingreuse fees, shall be payable for eachweb additional name, product orservice." Similar clauses cover thelepirtion or mention "of more thanme twe and class of product of aingle advertiser" and "of productsif a single advertiser under differentwand names." Thus, a performerappearing in a single Procter & Gam-& mie-ininute commercial that fea-ures he Blue Secret deodorant.'rell shampoo and Crest toothpastevould be paid as if he had madehree commercials.

Additional versions of a coopnercial, edited from an original.hall be considered separate corn-iereials and talent shall be paid.oth additional session fees and useees. Under the current contract, pro-ucers were allowed to edit a singledditional version of an originalonnnercial, the only charge beingtat use fees had to be paid whilele edited version ran.

Where singers are allowed a

292 MADISON AVENEW YORK N Y. 1001

410 N. MICHIGAN AVECHICAGO ILL. 6081.

five-minute rest period in each hourof recording, under the current con-tract, the proposal calls for five min-utes of rest during filming for allon -camera players.

There is more, much more, thatthe unions would like agreed to, andprecisely how much they will achieveis largely a matter of speculation atthis time. On the management side,there are points to be made also, andthe discussions undoubtedly will endwith some mutual benefits. The mostnoticeable effects, to he sure, are go-ing to be those which lilt the adver-tiser in the pocketbook at the outset.One way of judging whether or notthe increases are equitable is tomeasure them against the overallcost of a typical spot tv campaign.

Gains of the PastShortly after the SAG/AFTRA

contracts were signed in 1960-fol-lowing a heated debate in which itwas prophesied that increased talentrates would drive advertisers out oftv or make them turn to animation

(thus avoiding paying actors residu-als)-this magazine drew some com-parisons. The residual payment toan actor in a 20 -second commercialused in the top 100 markets in 1958,TELEVISION AGE pointed out, was$220, or less than one per cent of the$23,793 an advertiser would spendfor the air time to show that com-mercial. Under the new (1961) con-tract, the residual payment was $373,while the time cost rose to $26,949;the residual was therefore 1.4 percent of the time cost, but that per-centage undoubtedly declined a bitas time costs continued rising overthe next two years.

Future Increase?In 1964, under the existing SAG/-

AFTRA agreement, the residualpayment for 13 weeks was $525, andthe cost of a one-time 20 -secondspot in the 100 markets was $34,367,according to the Spot TelevisionCost Summary of the Katz Agency,Inc. Again, the ratio of residual totime cost was 1.4 per cent, and again

pelicmpelicm

LIVE ACTION & ANIMATION

NEW CENTER BUILDINGDETROIT, MICH. 48202

1777 N. VINE ST.HOLLYWOOD, CALIF. 90028

leri5ion Age, October 10, MO

.-lugust TvQ-Top 10 Evening Network Programs by Market SizeCopyright Home Testing InstitutelTvQ, Inc., 1966

Rank Program

TotalAudience

TotalAdults

Market Size Groups2 aid.

& Over1/4t-

2 mil.WNW-let mil.

tinder50.000 Rural

Fam TvO Fam Tv() lam Tv() Fam Tv() Fain TvQ Fang Tv() Fain TN)

1 Bonanza 90 47 92 46 88 35 93 44 92 42 93 50 94 612 Saturday Movies 78 42 80 42 83 42 84 40 78 41 81 43 72 -14

3 Walt Disney 86 40 85 40 83 40 89 44 84 36 88 40 78 36Dick Van Dyke 84 39 83 35 83 37 84 41 80 30 86 38 84 24

1. I Spy 60 39 61 34 62 38 66 41 57 31 61 30 55 226 Gomer Pyle, USMC 83 38 81 34 76 27 83 26 80 28 84 43 86 -1-6 Man From U.N.C.L.E. 78 38 77 27 79 28 77 28 75 32 79 26 74 2-1

8 Daktari 65 36 62 32 57 30 60 26 66 34 64 34 65 369 Thursday Movies 71 35 74 36 76 39 76 34 71 38 78 34 67 329 Tuesday Movies 74 35 75 35 74 39 78 32 72 38 79 36 71 33

Top 10 Evening Network Programs by Income

TotalAudience

TotalAdults

Income Groupstinder$5.000

$5,000-$6,999

$7.600-$9,999

$10,002& Over

Rank Program Fnm Tv0 Fam Tv° Fam Tv() Fam Tv() Fain T") Fnm Tv()

1 Bonanza 90 47 92 46 92 57 92 15 92 46 91 302 Saturday Movies 73 42 80 42 72 46 83 46 86 41 82 35

Walt Disney 86 40 85 40 82 41 83 42 88 40 85 36I Dick Van Dyke 84 39 83 35 81 28 87 39 84 35 33 394 I Spy 60 39 61 34 55 30 64 36 63 31 62 396 Gomer Pyle, USMC 83 38 81 34 81 45 82 40 83 28 79 206 Man From U.N.C.L.E. 78 38 77 27 70 24 79 29 80 26 82 318 Daktari 65 36 62 32 63 41 69 30 59 28 57 2311 Thursday Movies 71 35 74 36 71 36 77 40 78 37 70 29

Tuesday Movies 74 35 75 35 70 36 79 39 81 37 71 29

Familiar-those who have seen program.TvQ score-those familiar with program Isho say it is 'one of in favorites."

the percentage decreased in '65-'66as spot rates went up.

Now, assuming that the perform.ers' unions get everything they askfor in the way of increased wages atthe upcoming negotiations, the re-

sidual payment for a similar spotwould be about $700. With time costsnow at $38,500, the talent paymentas a part of total campaign costwould be 1.8 per cent.

This is a sizeable increase, but itis unlikely that the unions will

achieve all of their demands. Addi-tionally, as a three-year contract, in-stead of two years, was one con-cession made by the talent Onionsback in 1960, it is conceivable thatsimilar "gains" for management willcome out of the upcoming sessions.

If the contract period again is held

at three years. the ratio of residualto time cost would decrease in 1968and 1969, assuming that time costswill continue to rise. And rememberthat the assumption was made above-in arriving at a residual to totaltime cost ratio of 1.8 per cent-thatthe unions would achieve the maxi-mum wage boosts. Anything less

would result in a smaller ratio fromthe beginning.

Large Clients Count

Other considerations must be takeninto account when judging the im-pact of increased residuals. In thefirst place, the ratio worked out hereis based on a single performer andwhat it costs to place that performer'scommercial in 100 markets. Few com-mercials call for only a single per-

former, management can argue.therefore the ratio of residuals pwill be much higher than in

example given. But the talent umin rebuttal can point out thatadvertisers these days run a sinspot in the top 100 markets on a otime basis: if they use that in

markets or a smaller group.chances are the commercial willseen at least once a week. perhmore often, so the time costs uobe much higher than in the examples.and the ratio proportionally lower.

The largest advertisers are !hogon whom the talent unions base their

demands, claiming that a companYthat spends many millions for ittime can afford to pay a fraction

more for the best available talent.

Smaller users of tv are apt to get

80 Television Age, October 10, 1*

lueezed in the bargaining process.ut the prevailing attitude as theegotiators prepared to sit down wastat television today is such an ex-ansive business those using it canfford to keep using it-even if it

)sts more.Whether this idea is as true today

v it was when the last contract wasgned is problematical. The repre-intatives of the ANA and -IA's arevdoubtedlv loaded with ammunitionrefute it. There have been clients

-important ones to television-whowe dropped out of the medium. andhile talent costs might not have;en the sole reason for such a move..ey have played a part. Some com-mies have set their 1967 advertisingidgets to allow for only so much insiduals and other production costs:vy increase. can mean that fewerommercials are made and 'or fewer:tors employed.(In the past, the threats of adver-

5ers to turn to animation havergely gone unheeded. The costs ofiimation are so expensive to beginith that the technique has becomeore and more the rarity on thereen. Attempts to shoot only themds or backs of actors, so residuals)n't have to be paid. also haven'tught on widely.)

Will It Be In Mind?

All evidence on the selling frontdicates that television after years ofling high has come upon a newmpetitive scene, and that spot tvisiness in particular is slowing in itsto of growth. The rise of new sta-ns is fragmenting audiences, and;reasing the advertiser's cost-per-3usand. The "glamour" has worn, so far as the client is concerned.While the talent unions can state

this is no fault of theirs, it is aat that increases in any aspect ofevision almost always result induced efficiency for the man whoys the bills. And reduced efficiencyr a tv advertiser means he mayrn to other media where he is not;ed with a residuals problem. Willis be kept in mind when thergaining begins?

Skirting (Continued from page 39)

and individual attention to each job.Once you decide what type of oper-ation you want to have, you needenough capital to keep you in busi-ness from three to six months. Ofcourse. if you're a one-man shop.ou need about one -fifth of what a

five -man shop needs.""I never intend to be any bigger."

says Barry Brown. "You aren'tnecessarily making better films whenou're bigger. and you're definitely

not going to make any more money."Robert Colodzin says, "We're de-

termined to stay a certain size. Ifou are a film factory, there's no

lime to sit down and discuss theproblems. If you have too manyclients, work time interferes withthink time."

"There's no bureaucracy in asmall outfit. You can work on amore personal level." notes RonFritz of MR. Warren Forma ofForma Art Associates and represent.ative of Harold Becker Productions,Inc.. says. "When you stay small,You aren't compelled to take jobs. Ifyour overhead is too high. you haveto. It's a matter of artistic liberty."

`Hire the Stall'

The volume of business that a newcompany needs to stay in businessis also dependent on its size andoverhead. Says Peter Cooper. "Youhave to know every month what kindof volume you need to maintain thecompany. If you add overhead-any-thing at all-the figure goes up. ButI think a guy by himself can existnicely on $100,000 work a year."

-If you're billing between S-100,-000 and $750.000 a year, you canmake a lot of money. That's thepoint of diminishing returns. though.After that. everything goes up drama-tically, and you lose the personal re-lationship with employees-they be-come just employees," says BobStaats.

A large part of a company's over-head is in its personnel. Many newcompanies feel that they are wiser tohire staff per job. Most maintaina core of key personnel-which al -

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erision .4ge, October 10. 1966

ways includes a director, sometimesa cameraman and an editor. Newcompanies, too, are cognizant that"selling" is an important part of filmproduction. Four years ago, LenGlasser started Stars and Stripes For-ever Productions, Inc. Although thecompany now grosses between 8600,-000 and $700,000 a year through itsthree offices, nothing happened forthe first 18 months of business. "Lenwas a good designer," says vicepresident Staats, "but he overlookedthe second ingredient-selling. It'sas disastrous for a film company tooperate without a business manageras it is for a businessman to go outand become a film director. Most ofthe people who open their own pro-duction companies are not business-men at all. Their own art may bevery highly advanced, but they can'ttell you about the dynamics of fi-

nance."Even if the company opens with

an awareness of business and sellingprinciples, all are confronted withone initial problem: what do yousell if you have no reels to show?One imaginative solution was con-ceived by Landis/Wolf, Inc. Theydid a 60 -second and a 30 -secondcommercial on themselves. The film,called Who's Afraid of Landis,Wolf?, gave the new entrepreneursa solid selling point.

To do an elaborate promotionaljob, of course, requires capital. Butthere is no fixed guide to the dollarsand cents of opening a new shop.Beginning with a sizable investmentmay not be essential, but it doesmake it easier for the company to

John W.head the new program developmentunit of the NBC Owned TelevisionStations Division. The appointmentmarks Mr. Nelson's return to NBCalter a lour -year hiatus duringwhich he has been executive vicepresident of Graphic Internationaland producer of a series of programshe had created for the U.S. AirForce.

Nelson was named to

get a good credit rating-imperativein renting equipment but even moreimportant in convincing an agencythat you'll still be around next week.Film companies deal in an expen-sive commodity, and agencies arewary of assigning a $10,000 job toa shoestring operation.

"It really depends on how manypeople you begin with," says Focus'Peter Cooper. "A small companycan sustain its principals and paythe rent with a few thousand dollars.A larger company needs at least$50,000. The original investment alsohelps to establish a certain stability."

"You need enough money so thatif all of your dear friends who prom-ised you work don't talk to you, you

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can hold out for sx to nine mowithout any business," says RoColodzin. "I'd say 99 per cent ofbusinesses that start out these ddon't have that much capital. Tcount on their delusions. Not that

friends aren't sincere, but business.men, agency men, cannot risk thenown jobs by giving work to an unknow ii."

"You don't need a lot of capitalto start." says Dan Hunt of I l&R.

"Equipment is rentable in this Iiusiness. We began with an animationdesk."

"You can actually start on sourown good will, but I wouldn't recommend it," says Alan Gordon of Gor-don Youngman Productions.

"I made no initial investment ex-cept these," says Barry Brosin. lift-ing his hands. "You only need moneyto pay for the film in the beginning.When your first check comes in youcan pay for all the equipment youhad to rent." Brillig Productionsrented in the beginning. but nowowns a considerable amount of equip-ment, "things I couldn't rent. It

costs a lot, but every piece earns itskeep and more."

Of course, a new company needssome sort of office, if for nothingelse than to receive calls. "You haveto let people know you're in business,but that's not too difficult. Says

Peter Cooper. "This is a gossipy

business. As to the amount of equip-ment you need, that depends on howextensive a service you want to pro-vide for your clients. To start out

with a large amount, though. is a

mistake."

One of the major problems inloading up on equipment instead ofrenting it is in the nature of thebusiness. "You aren't guaranteed asteady flow of funds," says Paul

Landis. "The only thing distinct inthis business is the ability of people,"says Robert Colodzin. "We do not

own equipment, nor do we havestudios. It's dangerous to maintaina fixed overhead-it will kill you

in a slack period. And there aeslack periods. In the first six monthsof 1966 as compared with the firsthalf -year of 1965, there was a 20 -


mscent loss of business in New

ork."Bracing for the slack period is

inething new production companies

we always faced, but in recent

ears their problems have grown in

amber. A decade -and -a -half ago.

r example. when MPO Video-onics. Inc.. began making com-ercials, there were no mammoth'Min., itors--no firmly entrenched

P1. for instance-with floors ofTuipment and a staff of talent."The major difference." sin s NIP°esident Judd L. Pollock. "was thaten all talent was in a freelanceDol. It was one of MPO's

-

innova-I)ns to put talent on staff. The bigoblem today is to get good ere-ive talent.

"There was a chance of filling ai id then. Anyone who had someio,, h.dge of film could start a

1,i ne-.s. Today you need a good..1 rector or you have nothing to sell.

id good directors are all tied up.Den. too, agencies needed moreIp technically then than they dow."Mr. Pollock also talked of the

as a possible problemea for new, small companies. "A.n, company has to rely on the labsr color facilities. We have every-ing here."

Peter Cooper of Focus, however.t that starling a company durings color boom was definitely in his/or. "Because costs are higher, so

the profits." says Mr. Cooper.Duck and timing are a big part ofis business. The busiest time isnerally in the spring." 1When didDeus open its doors? "April 1.")

"Timing is important." says Roh-1 Staats. "When we started. theand at the agencies was to pull outthe big production companies. We

d a receptive audience for a freshproach. Had we started a yearrlier. it might have been different."Paul Landis also feels that thene is propitious because of thend to small companies. "and toII photographers. My partner.iff Wolf. has quite a backgroundstill, so we're getting in at the

ginning of that trend."

"This is the time for small, ser-vice -oriented companies that give atailor-made product to agencies.Agencies don't want to get lost ina maelstrom," says Russ Ford ofF.F.A.. Inc.

The time may or may not be aus-picious for new small companies,but the large number of film menwho believe it is and have openedshop makes the atmosphere intenselycompetitive. There may be more busi-ness around than ever, but so thenare there more new production com-panies opting for it. One of the mostimportant aspects of getting businessis the something "unique" that thecompany has to offer.

"Don't make a mirror image com-pany," says Barry Brown. "Findsomething that no one else can com-pete with you in."

"Our speciality is pre -productionplanning," notes Robert Colodzin."All problems are worked out anddiscussed before production."

"Harold Becker has a powerfulway of lighting," says WarrenForma. "It's low key. He basically

uses one light and works with itlike a painter."

Whether it be creative or func-tional, all the new company headsinsist that this added "extra" is in-strumental in the success of a newshop. Starting a company is far lessdifficult than keeping it open. Andwhen you're starting out it's notenough to do the job merely as wellas everyone else.

Other essentials? An ability forhard work-maybe 18 hours a day,six days a week in the beginning-and the willingness to take out lessfrom the business in the beginningthan you really feel you're worth.Many who start their own shopscome from fixed -salary, high -payjobs, but find themselves with a

much lower income in their first sixmonths of self-employment-a riskthat makes security -conscious wivesshudder.

Which uncovers the last, or per-haps the first, key to success in open-ing a production shop-an under-standing wife. Or. as one producersuggested, "stay single."

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el '' ttt Age. October 10, 1966

Bids (Continued from page 411

number and jobs of each member ofthe crew and each pay rate, set costs.equipment costs, travel, art work,overhead, mark-up . . . everythingthat is part of the total bid. In ad-dition to this, agencies would liketo know, and many insist on know-ing, who the director and cameramanare to be.

If the system were foolproof andthe participants perfect, the agency'sdecision would be easy. The threehouses were invited to bid becausethey each have equal abilities tocarry out the assignment; the threewere given the same information onthe assignment. Ideally, the filmhouse that submits the lowest bidwould get the nod. Indeed, sometimesit does work that way.

But how is an agency to decide.when the bids received range from$10,000 to $15,000 to $25,000? Ob-viously, someone, or two, have mis-understood the assignment. Costssimply don't vary that much. "Whenthere's a wide range of bids. there's

almost always a problem of commu-nication," said Norman Mathews,vice president and director of radio-tv commercial production at Dancer -Fitzgerald -Sample. "If it's too low,we will often give the film house anopportunity to correct its bid on thebasis of correct information," he

said. Hugh Brannigan, administratorof the tv-radio department at DoyleDane Bernbach, said he's seen bidswith a range of $8,000 on a $20,000commercial. Mr. Bird at McCann-Erickson recalled a time when theagency received an excessively low bidthat he knew was below the cost ofthe commercial. "The film house in-sisted it could do the job for its

price, so we let it." he said. "He lost$5,000, but was a man about it andtook it without complaining."

Chemistry Important

However, more often than not, thethree bids received are all approxi-mately the same figure. Frequently.especially when the bids vary lessthan $1.000. an agency will award

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the bid to the middle, Of

highest. bidder. However, whenis done, the agency is always putpared to explain itself to the diemMan% clients insist on know ing faactl what the three bids were. Ti,main reason an agency would recapmend a bid other than the lowswould be when the film house demosstrated an especially sensitive grailof a subtle conunercial which titother bidders failed to show. "Theoshould be a chemistry between umfilm house and the producer that yoican't buy." said Hugh Brannigeof DDB. "Ifs extremely importosin the creative aspect of filming. aai

when it's there you get it no mattewhat." At Grey, Manning Huhu'vice president and television prodsLion director, said, "We don't nsarilv go after the lowest bid, butdo insist on a competitive figure.the film house has shown a sunderstanding. or we know onerector will do a better job thanother two. we will go after him,gardless of the bid."

Scrap the Bids

If the bid is. indeed, competitimost agencies will choose the 10.and the people in it that the% think

w ill provide an extra and

enthusiasm to do the best ji b. the

selection is usually made by the bproducer and approved by his de-partment head. At that point a full

specification sheet is drawn up, ineluding all other costs such as musk.performing talent. agency expensesand commission. and art work thatthe production house does not --ap-

ply. It is submitted to the client lothis signature. Most clients. while

gulping at the growing expenses.

sign. A contract is drawn up betweenthe agency, acting for the client. andthe film house; it is signed, and pro-duction begins.

However, there are a significant

number of circumstances when anagency scraps the competitive bid

system. and approaches a single tam

house for a single telex ision co*mercial or commercial series. Whipa commercial requires such a degree

of specialization, there may be 4304

one or two houses. or directors,

84 Television .4ge, Ottober 10, 1

the country the agency feels suitablefor the job. "Sometimes there is acertain house you have to go to be-cause of a special talent you havegot to have, or a special effect. animation, stop motion," said ChesterMaxwell, vice president and seniorcommercial producer at Ogilvy &Mather. On other occasions. whentime is a crucial factor, competitivebidding is thrown by the boards andavailability of anyone capable ofdoing the job is the primary factor.

Although nobody is completelysatisfied with competitive biddingprocedures, most agencies say it's thebest solution to a knotty problem.One agency that agrees that competi-tive bidding is unsatisfactory and has(lone something about it is J. WalterThompson. Three years ago J.W.T.entered an agreement with MPOVideotronics guaranteeing the filmhouse more than $1 million annualk .

iith first consideration on all tvcommercials coming out of J. WalterThompson. In exchange, MPO agreedto a specified mark-up on all JWTmirk and permits JWT to examineits books to determine exact costfigures.

Alfred Tennyson, JWT's businessmanager for tv production, calls it a

ti "cost analysis program, rather thanthe conventional bidding system."The agency employs Selwyn Shilling -

law, an expert in production costestimates formerly with Filmex andSarra. who makes a complete costestimate on every storyboard at JWT."He has a look at the storvboard:and talks to our producers who ex-plain any special shooting problems."Mr. Tennyson said. "Before we start.we know what the commercialgoing to cost."

Usually in Range

The storyboard and producer thouthe MPO estimator meet and recon-time cost estimator who breaks clownthe costs in the same manner as Mr.

liShillinglaw, regardless of whethertithe project will eventually be handledby MPO. Then, Mr. Shillinglaw andthe MPO estimator meet and recoil -tile their cost estimates, "which art.!'not always on the button. but usual-ly within the same range." said Nli.

KSL-TV Salt Lake City recently transported a roomful of Dancer -Fitzgerald-

Sample media men and women to its market, not via LSD, but with a 13 -minute film called This is the Place. The "trip" took place in the offices ofthe station's rep, Peels, Griffin, Woodward, Inc. Since the background musicof the famed Mormon Tabernacle choir highlights the film, media peopleattending the series of luncheons over a week's time were given a painlessreminder of the presentation-a stereo album of the choir belting out sucholdtime favorites as Mine eyes have seen the glory of Ksi.-Tv, etc. Here, readyto fly, are (1. to r.): D -F -S. Charlie Richman, assistant buyer; Jo -Ann Long,buyer; Terry Costello, media planner; Dolores Carbone. media supervisor;Ron Roble and Bill Lennon, buyers.

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Tennyson. Then a decision is madewhether MPO will take the job orthe agency will go elsewhere forthe job. "Before we start, we havetwo estimates independently and pro-fessionally reached on what the com-mercial will cost no matter whomakes it," Mr. Shillinglaw said. Asa matter of policy JWT considersMPO first, but will go elsewhere ifMPO is teo busy, a specific directoror cameraman is occupied. or an-other film house is better equippedto handle a special job. MPO pro-duces about half JWT's commercialfilm, and last year the agency spentmore than $2 million at the filmhouse, more than double its guaran-teed minimum annual volume.

When the agency decides to go toa film production house other thanMPO, it still does not invite competi-tive bids. "Having a professionalestimator takes us out of the wildbidding arena and removes us fromhaving to grapple with price fluctua-tion tendencies," said Mr. Shilling -law. "Anyone who is invited to makea bid knows that we know what hiscosts are going to be. and is invitedto take it or leave it at our price."He added that he considers a 60 percent mark-up about average. Hesaid the decision on whether to go toMPO and if not, which house to ap-proach, is usually made by the crea-tive and art directors.

He claims that JWT's system is

preferable to competitive bidding, iffor no other reason than everythinggoes through Mr. Shillinglaw whosets up the same cost standards onevery commercial. An experiencedtv producer at another agency mayknow about how much a commercial

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will cost, but each one has to ap-proach it differently, said Mr. Shil-linglaw. With more than one pro-ducer working on cost estimates andevaluating bids, standardization isimpossible. Everything depends onthe individual producer and howwell-informed he is on cost estimates.

Other Pay Systems?

In addition to JWT's guaranteedminimum annual volume at MPO.the specified mark-up decreases asthe volume increases. At the end ofthe year when the total volume iscalculated, the total mark-up is re-

adjusted downward. This leavesMPO owing JWT the difference be-tween the mark-up paid and the year-end readjusted mark-up owed. Lastyear, the agency was refunded in

excess of $100,000. It was refundedproportionately to JWT clients alongwith an equivalent percentage of theagency's commission.

Other agencies regard JWT's com-mitment to MPO with envy, fascina-tion or disdain. Many think it's crea-tively restrictive, because of thepolicy to give MPO first crack atevery tv commercial coming out ofJWT and the pressure, howeversmall. "the agency must feel to makesure it gives to MPO enough volumeto fulfill its annual minimum." oneobserver said. However, JWT insistsit selects its film houses, "accordingto the film suppliers' creative poten-tial only, and does not feel restrictedby the MPO bond," Mr. Shillinglawsaid. The agency feels it would begong to MPO for most of its filmanyway. so it might as well receivea volume discount rather than nego-tiate each commercial individually.Other agencies insist JWT has com-mitted itself to buying a pig in apoke. Nevertheless, some agencies.and Benton & Bowles is amongthem. are reported to be lookinginto similar film house agreements.At least one has already made one.only not on the scale of JWT.

Most agencies are exploring othersystems of film house remunerationthat would enable them to discardcompetitive bidding and select a filmhouse or director -cameraman teamonly on its abilities and not on its

cost. Two such systems are a "fee"system and a "cost-plus" approach.Ted Bird at McCann-Erickson, whofeels that competitive bidding mightwell be scrapped to the benefit of -

everybody, said McCann-Erickson isseriously looking into other systems.The cost-plus approach is especiallyappropriate on jobs when there area large number of imponderable-."like automobile commercials at in-

troduction time. There are manythings you can't predict. You mightwell have a film crew sitting out in adesert in Utah waiting for days forthe car to arrive." If competitive bid-ding were employed in such a situa-tion, the film houses would all over-bid to protect themselves and theagency would have to pay. On thecost-plus arrangement the agencywould pay the costs, plus a pre -

agreed -upon percentage to providethe producer's profit.

Bids Here To Stay

While the cost-plus system ma be

indicated on rush jobs with a lot ofvariables, Mr. Bird regards the feesystem as perhaps more workable inmore ordinary situations. Under afee system, regardless of the costs.the fee stays the same. Under a fee,it would pay the film house to keepits cost to a minimum. The agencywould not be confronted with, "Howmuch can I get out of the film housebefore it starts charging extra." asit is now. Mr. Bird said. Mr. Birdthinks the total cost to the agencyunder a fee system, "might well be20 per cent below present costs. main-ly because you have eliminated all ofthe risk." He pointed out that theconsiderable expense film houses in-cur merely in bidding, often submit-

ting 15 bids for one acceptance. isultimately paid by the clients, whofinally pay all the bills of the entireindustry. The fee system might createa huge administrative job for theagency. going over film house costs,hut Mr. Bird thinks it would be worthit. He said the main obstacle to pur-

suing a fee system is clients whohave to be persuaded to accept its

special charms. For the foreseeablefuture, he agreed that competitivebidding is here to stay.


Producers (Con't. from 43)

writers and 10 art directors.At JWT, producers are responsible

for educating art directors in film,in cutting and other fairly technicalaspects of production. There's a needfor seasoned producers throughoutthe industry, Mr. Siebert said: menwho can make commercials, not artmovies.

"Along with the veteran producers.art directors and copywriters can hea new breed of film-maker. If a pro-ducer is unimaginative. but tech-nically proficient, he might do betterat the other end [studios] with histechnical knowhow," Mr. Siebertsaid.

Salaries Reflect It

"The studios now handle thingsi that the agency producer used to

do," the group head remarked. SoIthe agency producer must now not11 only know technique, but must grow4 i upward to the ad conception level:

he must be a creator. And salariesi are reflecting this.

The three -musketeer system alsoI prevails at F. Bergin.

who is vice president, creative direc-tor. and chairman of the plans board.said that no tv producers have beenknocked off the payroll, but that theagency has "a new breed" of pro-ducer. " a guy with taste and savvywho is willing to work as a teamwith the writer." The agency not

I- long ago hired nine new producers.and lost some of its old ones. Thc \weren't fired, they just "walkedaway." "The old Hollywood notionof the single producer, the undis-puted captain on the set, is dead.The agency producer nowadays ispart writer, part art director. and

lpart film maker. The writer is moreof a producer these days; he takespart in casting. sound recording, andeven works on the Movieola."

Writers Have Influence

Mr. Bergin said that writers ha,a strong influence on production,and producers have a strong influ-ence on the story concept. The pro-ducer works as a team with the art

Full -Color Processing at NBC NewsThis month NBC-TV will move the last of its four weekday fiNe

minute news reports into color, and will become the first network tohave tinted all of its regularly scheduled new programs. The switch tocolor began with The Huntley -Brinkley Report in November of last year.Before the upcoming all -color status could he achieved, a number ofproblems had to be solved.

Among them, reports Sheldon Nemeyer-manager of equipment, lab-oratory and sound service for the NBC Newsfilm Department-was

Mr. Nemeyer and his color -processing "baby"

finding the right film for use, finding sufficient quantities of it. findingfilters to use with it and modifying cameras so that the film wouldwork with any.

Color reversal film was chosen after experiments, and proce--iiimachines were installed at NBC News bureaus in New York, Washington,Chicago and (upcoming) Cleveland. Filters were specially manufac-tured for the company. The Auricon conversion camera was adaptedto fit the film by a modification in the roller path.

Color processing, it was found, could be done at the same rate ofspeed as black -and -white, but because a color processor is larger, 32minutes of film leader is necessary, compared to eight minutes forb -S -w. After 36 weeks of operation in New York. the one -day recordfor color processing is 47,000 feet of film-enough to fill 23 hours ofnewscasting.

25 West 56th StreetNew York City

LT 1-B870

Age, October 10, 1966

director and the copywriter.At Compton Advertising, John

Burke, vice president. chairman ofthe plans board and creative director,said there were no hard boundariesdelimiting the production function."We have writer -producers, produc-er -writers, art director -producers.group head -producers, and producer -producers," he said. "If the guy hasthe plumbing, and background inproduction technique and biddingand such, he can produce, if he alsohas taste and business sense."

There's been no cutdown at Comp-ton on the number of producers; onthe contrary, there's been an in-crease. "A good producer is hard tofind," Mr. Burke said. Compton hasset up a task force under senior vicepresident Herman Davis to makecommercials.

Hyphens have been put to use atFoote, Cone & Belding, where tvproduction has been placed underthe direction of Raymond A. Betuel.associate creative director, who headsthe production of all visuals andgraphics at the agency. FCB's crea-

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In the CBS Television Network Sales Department, Joseph N. Curl (1.), former.IIly vice president of daytime and sports sales, was named vice president ofwest coast sales; Robert F. Stolfi (c.) was promoted from manager of Pacific ii

coast sales to vice president of daytime sales and sports sales; and John A.deWaal (r.) was promoted from account executive to vice president, Detroit,:sales.

tive operations were restructured lastsummer, with division into languageand graphic divisions. Before thereorganization, Mr. Betuel had beenresponsible for print and tv art; nowhe also heads commercials produc-tion. Commenting on the restructur-ing, FCB creative director DonaldB. Buckley said the agency was try-ing to lick the industry problem ofpassing the job from hand to handby adopting a system that's condu-cive to interested continuity.

"For bright, contemporary, crea-tive work," he remarked, "the classicthree -department system (copy, art.

no longer seems adequate. The`no -department' system, at this pointfor us, seems to have as many dis-advantages as it does advantages."

Drop the HyphenWithin the graphics division, some

art directors are making film; sometv producers are making art. "Pro-ducers. whether or not they havepolished secondary talents, will beinvolved from the inception of eachbroadcast assignment." Mr. Buckleysaid.

Elsewhere. hyphens are droppingout of the lockup. One agency thathas reversed the tendency to sub-ordinate commercials production toart directors and copywriters is

Kenyon & Eckhardt. Earlier this yearK&E realigned its producers. takingthem from groups and putting themadministratively into a tv production

department headed by Larry Parker,associate creative director in chargeof production. Functionally, the tvproducer at K&E works as a teamwith copywriter and art director.But he is involved full-time in com-mercials production, from concept toanswer print, where formerly he

might have worked as a writer on a

print campaign one day, a producerthe next.

C.L. McNelly, executive vice presi-dent and creative director of K&E.said that the agency's producers"come from a wide variety of back-grounds. Some are art directiii,others writers. and one was a con-

cert pianist. If a man shows hightalent in one art, it's probable thathe can be made into a good t%

producer."A producer at K&E is no longer

a mere executor." Mr. McNelly said."It's good if he can draw thumbnailsketches, but if he doesn't know him.that's no obstacle. if he is a good

visualizer."Film studios. by themsel'

could 'cover the board,'" Mr. Ili -Nelly said. "Far from merely cov-ering the board, the producer at

K&E is involved in the commeli 1,11

from its inception; he is a voice in

the process of creating it. What.wanted from the producer is not a

succession of faits accompli; as wesay at K&E, Creativity Is a Process.

Not an Event. As soon as a cam-paign is completed and on the air.

Television Age, October 10. J°°'

K&E sets its creative types to map-ping out the next campaign on theaccount, while their brains are stillteeming with ideas engendered inthe process of working on the just -completed campaign." Usually, Mr.McNelly explained, in the advertis-ing business creative people wait forthe next cycle or the next work order,and so the inspiration of the com-pleted effort, the ideas springingfrom it. grow cold or even get lost.Now, with the ongoing process, themomentum is maintained.

Thus hyphenates are out at K&E,after a time in which the agency,experimenting with ways to makebetter tv, had gone from straightproducer to a system of hyphenates.Now that wheel has come full circle.since K&E found the hyphenate sys-tem didn't work out too well. "Itleads to overstaffing," Mr. McNellvsaid, "even though some manage-ments think it will lead to economies,by having each hyphenate eliminateone man from the payroll." Appar-ently what can happen is Parkin-sonian in effect, in that the hyphen-ate, in operation, can turn out to beneither one thing nor the other, and,o falls between two stools.

Good Ones Lacking

I But throughout the industry, goodtv producers are said to be in short

I, supply. Many have left the agencyb side to work at studios. e. g., Leen Savage ( ex-JWT ) , Bob Larsen. whob moved to MPO from Carson /Roh-1 erts; Rollie Gild, who went to Wyldei,from McCann; A. J. Miranda, whoii has gone to VPI from Campbell.

Peter Cooper. who went toFocus Presentations from the agen-des. "What studios are doing," oneobserver said, "is getting counter-parts of the agency art directors andproducers. The resultant shortage isreflected in salaries; where once anagency producer would be paid some-thing on the order of $18.000. nowits $28,000 or $30,000 and up."

While teamwork between writers,artists and producers seems to he therule at many of the larger tv agen-cies, art directors increasingly callthe shots at smaller and middle-sizedagencies. This whole tendency, like

much that is novel and ongoing inthe advertising business, is laid atthe door of Doyle Dane Bernbach.Other agencies, working in the DDBtradition, have carried it further:Papert, Koenig. Lois: Carl Ally;Jack Tinker & Partners. and Wells.Rich, Greene.

While John Capsis at Tinker runsthe technical and business parts ofcommercials production, what goesinto the film or tape is largely theresponsibility of creative directorsBob Wilber and Gene Case, as a yearago it was the responsibility ofRichard Rich. Stewart Greene. andMary Wells.

New Breed Emerging

Mr. Wilber remarked that in theearly history of tv advertising, "theproducer was another man to hate.like the account man and the client.They were the villains at DDB."When the art director is in chargeof the film, you have more controlover it, he said. "You get clearer.more effective commercials.

"Too many film producers wereex-tv showmen, and failures at that.and not admen." Mr. Wilber wenton. Their razzle-dazzle. mystificationby jargon. and "Gimme the stuff andI'll make you a film, baby" approachwent by the board when admakersdiscovered that film -making was notso mysterious after all. Said Mr.Case. "it takes one commercial tolearn the basics of film."

What's emerging in the industry.Mr. Wilber said, is the productionassistant. or assistant producer --bright young girls and boys who canhandle the legwork and the followup.and want to learn film. Tinker hasNo on staff.

Richard Rich, Tinker alumnus who,along with Stewart Greene, writesand designs and produces commer-cials. said that having one man re-sponsible for the entire commercial"assures the development of the idea.in tonality, viewpoint and evolutionand execution. There are so manydifferent treatments possible in tv.with the variables of production.lighting, direction, etc."

"When art director and copywriterare responsible for a commercial.

you get a better commercial," saidDominic Arbusto, vice president andcreative director at Daniel andCharles. an agency that is now turn-ing out about 100 tv commercials asear. "Commercials that are domin-atel by producers or review boardsare terrible.

"Art directors don't need to knowhow to splice film," Mr. Arbustosaid, "but they, along with copy-writers, must be able to transmittheir message onto film. They musthave a feel for the film medium,not necessarily technical mastery ofit.'

Mr. Arbusto said that not everyart director can be successful in film:"some of them are still out of it.thinking in terms of a series of stillpictures. which film is not. And somewill have what might be an effectix10 -second idea that can't hold for 60seconds."

About a year ago. there was a faintsign that the status of producers atDoyle Dane Berhach had risen. whenthree tv producers were given a newtitle: production supervisor. But theagency's film output continue; to be

SHIELD PRODUCTIONS INC.Creation and Productionfor Radio - Te'evision

CHICAGO919 ERNST COURT MI 2-6441

Television Age, October 10. 1966

heavily art -director dominated, andon almost every DDB commercial,the strong influence of Robert Gageis felt. Mr. Gage, senior vice presi-dent and chief art director at theagency, is said to exert a preponder-ant effect in the shaping, the design.the lighting, the mood, the tone, ofDDB's commercials. "He's a one-manteam," gushed an admiring subordin-ate. "He lets producers, art direc-tors, suppliers know that he is theboss."

Under this overriding influence.ideas at DDB are developed by thecopywriters and the art directors,and once they have some idea whatthey want to put on film. the agencyproducer comes into the picture. Atthis stage, the producer gets a

chance to participate in and con-tribute to the creative process.

At Carl Ally, Inc., as aforemen-tioned, there are no tv producers assuch on the payroll. Creative directorAmil Gargano believes that "if a guyhas taste, ability and a sense of him-self, and if he knows what's goingon in the world around him, andknows advertising, he can make corn -

Represented by The Katz Agency, Inc.

Theway

to reach

AUGUSTA

GO

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A RUST CRAFT STATION

mercials." At Ally, copywriters andart directors work together on theproduction of film. For the filmingthey tend to seek out the "one-man"studios, the Barry Browns, Ben So-moroffs, Howard Zieffs. "The troublewith most commercials is that toomany people get into the act," saysMr. Gargano.

Marschalk uses the musketeer sys-tem. "About two thirds of our billingis in tv now," remarked MarvinMitchneck, senior vice president,"and in the shift from being pri-marily a print house, as Marschalkwas until 1961, print admakers havebecome tv admakers, working closelywith tv producers." (There are eighttv producers at Marschalk.)

One advantage of the three-mansystem, he said, is that it lifts the tvproducer's neck off the block-"ithelps him instead of hanging him."

Semantic ConfusionWhile copywriters and art directors

may wish never to let their brain-children go off under the directionof another, excessive involvment bythe writers and artists in actual pro-duction is decried by many ageiirproducers and studio men. The maincharge is lack of professionalism inany arrangement by which mus-keteerism with its inherent rivalriescontinues onto the set on the shootingday, or crops up later in a viewingof the first rushes.

Although there may be some de-gree of confusion over what direc-tion commercials production is tak-ing. it yet seems clear that no matterhow many people may he involvedin the design of a commercial, thefinal responsibility for the film orthe tape will not elude the producer.whether he's part of a team, whetherhe himself is also the writer and/orthe art director. or whether he is thesole agencyman involved in the mak-ing of the film.

Much of the confusion is semantic,and some of it is due to the com-plexity and the collective nature ofadmaking. But as professional film-makers become professional admen,and as professional admen becomemore professional in film -making, thesemantic chaos will clear up.

How Maude andCharlie Grubbplanted aChristmas 'Free)farm with

U.S. Savings BondsIt's now a holiday all year roundfor Maude and Charlie Grubb ofKelso, Washington. In July theyretired from their jobs andmoved out to their Christmastree farm.

Six years ago the GrubbsNought fifteen acres of hill landwith U. S. Savings Bonds. Thenthey began planting and building.

Today their farm is coveredwith little Douglas firs growinginto Christmas trees. And they'vealso built a hunting and fishinglodge.

Savings Bonds have a nice wayof growing into a tidy sum forretirement, a vacation, a home.car, education, or an emergency.

Another nice thing aboutBonds: while your dollars arebeing set aside for your future,Uncle Sam is using them to helpback our men in Vietnam.

....------

\ MI*rAN LNG

ii.i5""ontin1Litt

BuyU. S. Savings

BondsThe t ermli. oil does not payfor this adtertisement. It is presentedas a public salter in cooperation with

*the Treasury Department and TheAdvertising Council.

I

111 Television Age, October 10, 1966

All

n a business where the economici analyst and the graduate of theHarvard Business School are moreand more taking the operationalreins, Herb Jacobs is a refreshinganachronism. Mr. Jacobs, presidentof Tv Stations, Inc., is one of thosetelevision pioneers spawned in theworld of showbusiness, Broadway.nightclubs, motion pictures. He is.and he lets people know it at once.the kind of man who will jump inand try to do a job bigger and betterthan anyone else. The trait. heacknowledges, came from a positionas assistant to the late and legendaryshowman Billy Rose, whom he re-sembles in stature and "feistiness."

At this date Mr. Jacob's outlookon life and business is taking con-crete form in a three-day seminarat the New York Hilton. The meet-ing. comprehensively titled Whatmakes a station a success-and whatit must do to achieve it, is sponsoredby Tv Stations, Inc., but is virtuallya single-handed operation. Mr.Jacobs, leaning back from the hugedesk in his eastside office a week ago.explained how the whole thing hadcome about:

"I was just back from a confer.ence in the midwest and was tryingto remember what I had learnedfrom it. I came to the conclusion

a that no one had gotten anythingfrom it. and the people I talked toabout it agreed with me. Okay. therehad been a lot of fellowship and in-terchange of ideas, and all that. butwas it worth station men travellingfrom all over the country? I didn'tthink so.

"Now what this business needslike a hole in the head is one moreseminar. right? But you have tolearn; you have to if you're goingto get anywhere. So I said there'sonly one way you learn. That's tolisten to the individuals who aresuccesses in their fields. You listento them. And you talk to them. Andyou learn how they did it and Ini%you can do it."

In the picture

When Mr. Jacobs talk in crispsemi -sentences. he appears

vital and enthusiastic. %caving aseemingly solid seminar out of thinair. "Who's better at knowing whateditorializing can do for a stationthan John Gilbert?" he asks. "He'snot going to tell anybody what toeditorialize about: he's going to tellwhat effect it has on the station'saudiences, how advertisers react toit, does it bring in or drive awaybusiness. And who knows promotionbetter than Tad Reeves? Or has donea better job than Louis Read?" Hewent on rapidly. ticking off thenames of a dozen. two dozen indus-try executives, virtually any ofwhom would quickly be identified as"successes" - McGannon. Susskind.Campbell. Comte, Manship. et al.

"We're going to have somethingfor everybody-the big stations.small stations, in between. Andthere's going to be plenty of timefor questions and answers. . .

There was more, punctuated by thejabbing finger and the quick walk tothe map on the wall, a map coveredby more than 100 flagged pins repre-senting the supporting outlets of TvStations. Inc. It was as if Mr. Jacobswere outlining a theatrical produc-tion to a group of potential backers.as when he produced revues for anight club called The Glass Hat. Arealist. however, he concluded byshrugging his shoulders and smiling."We've planned it to work. But-Well, remember it's something wedidn't have to do. We wanted to doit."

Wanting to do something is a

leitmotif in the native New Yorker's33 -year career. For much of thattime he acted as a film consultant.advising others in the buying andselling of film. In the late 10's. hehelped set up television's first filmsyndication company, for l)uMont.and was its national sales manager.In 1951, firmly backgrounded inmotion pictures, he created and co-founded Tv Stations. Inc.. a con -

MR. JACOBS

'lie didn't have to do it . .

suiting service owned then by ahandful of stations.

dilM any think of us as buyeroffilms for the stations. -

said Mr. Jacobs with a hint of ire."We buy, yes: but we are manage.ment consultants. film appraisal ex-perts, you -name -it. We're called inby syndicators who want our opinionbefore they pay millions for a pack-age of film. We're called in by sta-tions who want to know how a syndi-cated program will do opposite thecompetition. Look-" he whirledaround in his swivel chair and spuna foot -high rotary file-"in herewe've got the name of every avail-able syndicated show. They're in-dexed and catalogued, and we've gotinformation on how they did onstations of all sizes and descriptions.

"If there's something one stationwants to know that we don't have.we call the station whose market isabout the same. It's not true thatevery market is different; each mayhe different in its own area, butthere will be a small market in thesouth that's just like one out west."

He rose, moved to the fin -coveredmap and stared at it a moment, thenreturned in short, quick steps to thechair. "We're not just film buyers."

Television Age, October 10, 196f'91

THE LIGHTER SIDE In cameraAn urgent correction on a press

release came across the desk notlong ago from N. W. Ayer. It at-tempted to clear up a spelling errorin a report on closed-circuit tv formedical education. "The error ap-pears on the second page. fifth para-graph," said the correction. "Theparagraph should begin: 'Back con-ditions are also difficult for the pa-tient,' Dr. Collings noted, 'becausehe often . .

"The misspelled word `the' shouldbe 'he.' "

Hnun? Back conditions are alsodifficult for he patient?

* *

Benton & Bowles, notes an eagle-eyed observer, has a letterhead forexecutive use that is imprinted atone corner simply with the words,"Vice President."

Not only can dozens o/ guys usethe same stationery, but i f a man is

New Orleans' "French Quarter," gra-cious living area and tourist mecca,faces threats known to historic areasof other cities: modern structures, ex-pressways, selfish interests. WDSU-TV editorial cartoon (above) drama -

moved up-or out-the letterheaddoesn't have to be tossed aside.

*

Larry Laurent. newspaper tv col-umnist started off a discussion onhow cultural television is these dayswith a few ironic gags: "Look." hesaid. "there's a new network plan-ning to connect us to a cultural oasisin Nevada . . . NBC-TV paid play-wright William Hanley almost asmuch for a script as it pays RobertKintner not to work . . . The BellTelephone Hour is cultural: in factit's the best radio program on tv."

On green paper. naturally, theLeavitt Corp. of Everett. Mass.. re-cently announced a breakthrough inthe world of peanutbutter. It hasdone so well with Batman brandpeanutbutter over a million jarssold within three months of intro-duction that it is rushing Green

ADVERTISE MEN T

tized excavation for a new hotel thashook nearby buildings to their foundations. Twice nightly John Chaseunique in New Orleans, makes issuesgraphic, simple, provocative, buildsloyal viewing.

WDSU-TV New OrleansNBC BLAIR TV

Hornet peanutbutter onto the market.And company officials predict the

new brand will do better than theBatman label, because Hornet isgetting an earlier start in the tv sea-son. But just in case, the company ;1is printing up millions of Superman I'brand labels, too. Leavitt presidentJames T. Hintlian reportedly smiledat the shocking idea that all thepeanutbutters in the different jarsare the same. "That kind of chargeabout our peanutbutter," he said,"would never stick."

WCBS-TV New York recently edi-torialized its view on a controversythat has long raged in New York.l%%o decades ago the name of SixthAvenue was changed to Avenue ofthe Americas. a name that has greatinternational meaning, but also is

somewhat unwieldy. wens-Tv sidedwith those who argue the nameshould revert to the more plebianSixth Avenue. A rebuttal was im-mediately forthcoming by the Ave-nue of the Americas Association.which pointed out many reasons whythe current official name should beretained.

What the Association neglected tonote, though, is the hardship a sec-ond name change would mean tocertain broadcast competitors of theCBS -TV flagship. In the pat few

ears. Time -Life Broadcast took upresidence at 1271 Avenue of the -

Americas: ABC-TV moved into 1330Avenue of the Americas: even A. C.Nielsen I which sometimes causesCBS trouble' is at 1290 Avenue ofthe Americas. If the name went backto Sixth Avenue. thousands %%ouldhave to be spent by those companiesin revising their stationery.

But wait, you say, aren't CBS -TVand VCBS-TV itself in a new buildingon the Avenue of the Americas?Right! But the building was designedso that it has no entrances on thatstreet. and its doors open on eachside-so all CBS stationery carriesthe address. 51 West 52nd St.

Smart thinking, CBS.

I

92 Telerision Age, October 10, 1966

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