Contest Giveaways

[Red1]

I have a question for those of you in promotional positions at your stations: For a movie promotion where listeners win tickets to an early showing of a new movie is it normal to giveaway around 50 tickets more than there are seats in the theatre?

On Tuesday, a friend invited me to a special showing of "Mama Mia" at the Regal Theatres in Henrietta. She'd won the tickets through a promotion on 93.3 "Fickle." There was nothing on the ticket to indicate that we needed to be there early in order to get a seat so it was a surprise when we and approximately 45 others were turned away. Although we were offered tickets to another movie ("Hancock" in our case) we were very angry that the stations (101.3 also was in on the give away) would do that to it's listeners.

In my case it was more than frustrating it was expensive. I live 40 miles south of Rochester so it ended up costing me about $17 in gas for a trip I wouldn't have taken if I had known I wouldn't be seeing "Mama Mia."

So first of all, why give away so many tickets and if you're going to do that shouldn't you warn the consumer?

 

[Savage]

I can't say for sure, but I would suspect the management of Regal as opposed to WFKL/Entercom.

Obviously the station has no control over management of ticket sales at the theater. My bet is that Regal (its parent company has been in and out of bankruptcy for years) decided not to turn away paying customers for what was obviously a popular movie, and prioritized paid admissions over promotional giveaways, which were probably traded for "no-cash" on-air mentions or ROS trade.

I suggest you bring this - diplomatically - to the attention of station management. They may not even know.

 

[intheknow2]

In fine print -- it does say on the movie passes that seating is first come, first serve. For promotional screenings, it is standard to give out more passes than seats, to ensure a full theatre for a movie premiere. This is the policy of the movie distributor, not the theatre or the station.

 

[Element9]

intheknow2 offers a definitive summary. A friend who worked in CHR until she "aged out" of the format, would tell me horror stories about movie pass winners who were jobbed out of seeing premiers because the distributors "papered the house." It's a common practice. You'll often see the freeloaders from the local newspapers, TV stations and even competing radios stations at these events. That being said, it's sometimes just dessert for the radio station contest pigeons who think they're entitled to anything and everything that's free. Still, getting shafted at a premier as you did, leaves a bitter taste in one's mouth and puts the radio station in a bad light. Call the station's promotions director and play "let's make a deal." Be nice and you may be surprised with the consolation prize.

 

[Bob1370]

Any promotional giveaway that runs the risk of making the "winner" dissatisfied, is not worth the risk of running. You're better off doing nothing at all.

I can remember one giveaway that was absolutely certain to please the winner and get people's attention...back in 1978, to mark Algonquin Broadcasting's takeover and makeover of WBEN AM/FM and get some extra attention in the Arbitron sweeps, we gave away a newly constructed four bedroom fully furnished house in Lancaster.

You read right...a brand new, four bedroom, fully furnished house.

Needless to say, that got us noticed. I wonder if the guy who won it still lives there...

 

[Red1]

Thanks for your thoughts everyone. Next time someone offers me something for nothing I'll read the very tiny print. ;D

 

[MikeSmithWNYR]

*Most* of the time, free promo tickets are not honored at big movie premier nights - often not for a week after the movie opens. That's because the freebies don't count in the published ticket sales figures and the movie companies perceive it will hurt opening night and week numbers. And that's often not the theatre's call - the movie companies dictate that.

Now, bigger stations with more 'pull' than we little guys may get some opening night freebies, but I can't remember the last time we did.

 

[luvcoors]

I think most of you missed the main point that the OP mentioned & In The Know 2 hammered...this was a sneak preview of a movie on a Tuesday night, that opened today (and also got leaked on the net last weekend). As usual, the promo company behind the screening partnered with too many others and papered too many passes across too many partners to insure a full house. It surprises me for a film like this would definitely draw an upper end crowd. Bad planning, bad communication (by the 2 stations who should have added that little extra personal touch at the reception desk by telling people the policy and telling them to show up early to guarantee a seat since they had no control over the number given away by other parties...they're merely the radio sponsor and host of the event!), and more....and big surprise you end up with angry listeners!

Another failure in an effort to win over listeners by doing the little things! The damn theatre should have ponied up free tickets to opening night or....gee...move the freaking premiere into a bigger theatre that could have held the overflow. Wouldn't have been too hard to switch theatres with another movie that's in it's 4th week and drawing squat. And it's also not that hard to unload and reload films nowadays! An extra 15 minutes of delay to do this wouldn't have been a bad price to pay for pissing off 50 listeners!

 

[Savage]

I'm not trying to be pedantic. But as the only poster here I know of who is not only a radio guy but also a union projectionist, it IS a big deal to "reload films." Certainly not the "15 minutes" you suggest.

Since the 70s theaters have almost universally converted to the "platter" system to eliminate attended projection and make possible today's ubiquitous multiscreen cineplexes. A feature arrives on traditional 20-minute reels, is wound off them and spliced end-to-head to create a giant endless loop, not unlike a big version of the old-fashioned audio cart. The film is pulled from the inside of a horizontal pack loaded onto a formica-covered platter, runs through pulleys screwed into the ceiling and walls of the projection booth, and simultaneously rewinds onto the outside of the pack. The projector uses a xenon lamp and a foil patch makes a connection which stops the feature at the beginning of the opening titles and raises the house lights. The feature starts automatically at its scheduled time, simultaneously lowering house lights. Trailers and commercials are spliced into the sequence. The whole loading and splicing process, including frame, focus and audio tests, takes hours.

In some cases a single print is shown simultaneously on two or more screens in the same cineplex through the process known as "interlocking."

Another factor which would impact the generosity of theater management is rental cost. Film rentals are paid by screen. Double the screens, double the rent for a given print.

 

[JustPastBuffalo]

Yebus, the things we learn on these boards! I had intended to email you RCS, but a public posting works just as well.

Boss jock, PD, attorney, owner-operator and whodathunkit, union projectionist. As Elaine Benis might exlaim, "Get out!"

This brings up a memory from the way back machine wherein a friend of mine, once a news director, now coincidentally an attorney as well, was producing a PA show with the weekly co-host (from the University at Buffalo) who would introduce himself thusly; "I'm ******, a practicing attorney, a law awethuh, a union machinist and a stevedore."

We knew for a fact that the man was a lawyer and because he taught at UB, an author ("publish or perish.") But we wondered as to his being a union machinist and/or stevedore.

Each week in the control room as the show was being recorded, my friend and I would always add job titles after the man's self-introduction, e.g., "I'm a lawyer, a law author, a union machinist, a stevedore, a used car salesman, a scooper, private eye, beer delivery man, plumber, astronaut, rabbi, chef, cabbie..." the list went on and on.

Apparently our friend got wind of our little game and one April, on or near April Fool's Day, introduced himself with a smoothly delivered litany that included about a dozen titles, many of those we'd concocted. He looked at us through the double paned control room glass, smiled and winked, never missing a beat, then went on to complete the show.

After the recording session, he came into the control room and told us that we weren't the first knuckleheads to do the "plumber, doctor, rabbi" routine. His co-counsel at UB and his law firm had been doing it for years and he enjoyed adding to the mirth. So much for our originality. More proof that few comedy routines are original. He had a good laugh with us and showed us his union cards and told us about how he'd put himself through college and law school working the docks, cooking, doing shtick at bar mitzvahs and playing a pretty decent ragtime and jazz piano at a saloon.

Great guy with a great sense of humor. A renaissance man, no doubt... but certainly no union projectionist... at least not to my knowledge. Hmmm, if we were really using our heads, we would have added that to the list of his credits.

"JPB"

 

[Bill Myers]

Hi Bob-

Not to sound too much like a dummy - What is ROS trade? What does ROS stand for?

Thanks for the lesson on film projecting. Very interesting read. Boy they've even automated the movie theatres jippin' (sp?) some young kid out of a summer's wage.

Thanks..

 

[audio4tv]

Hi Bob-

Not to sound too much like a dummy - What is ROS trade? What does ROS stand for?

Thanks for the lesson on film projecting. Very interesting read. Boy they've even automated the movie theatres jippin' (sp?) some young kid out of a summer's wage.

Thanks..

ROS= Run of Schedule
Category of air time which is low, and not guaranteed to be in drive times.

 

[aaronread]

Any promotional giveaway that runs the risk of making the "winner" dissatisfied, is not worth the risk of running. You're better off doing nothing at all.

If 300 people got free tickets to see the movie, and (presumably) came away happy...and if 50 people didn't get to see the movie and came away unhappy, I'd say that's a net gain of 250 happy listeners, isn't it? (yes, this is a deliberate oversimplification)

BTW, how many theaters have switched over to those hi-def digital projectors? Obviously it'd be easy to change the movie on one of those...just point-n-click (or change the DVD, or hard disk or whatever the movie's storage system is). But I remember reading how those projectors were insanely expensive and coming at a time when theaters aren't doing well financially. At least, nowhere near well enough to justify the cost.

 

[luvcoors]

I'm not trying to be pedantic. But as the only poster here I know of who is not only a radio guy but also a union projectionist, it IS a big deal to "reload films." Certainly not the "15 minutes" you suggest.

Since the 70s theaters have almost universally converted to the "platter" system to eliminate attended projection and make possible today's ubiquitous multiscreen cineplexes. A feature arrives on traditional 20-minute reels, is wound off them and spliced end-to-head to create a giant endless loop, not unlike a big version of the old-fashioned audio cart. The film is pulled from the inside of a horizontal pack loaded onto a formica-covered platter, runs through pulleys screwed into the ceiling and walls of the projection booth, and simultaneously rewinds onto the outside of the pack. The projector uses a xenon lamp and a foil patch makes a connection which stops the feature at the beginning of the opening titles and raises the house lights. The feature starts automatically at its scheduled time, simultaneously lowering house lights. Trailers and commercials are spliced into the sequence. The whole loading and splicing process, including frame, focus and audio tests, takes hours.

In some cases a single print is shown simultaneously on two or more screens in the same cineplex through the process known as "interlocking."

Another factor which would impact the generosity of theater management is rental cost. Film rentals are paid by screen. Double the screens, double the rent for a given print.

Bob...

Lemme say this nicely...you're nowhere NEAR how it works now in theatres that have been built since 1995. The machines are a lot less complex and are much easier to load and unload...the last time I visited a movie theatre to meet with our promotional partner, the guy couldn't stop showing off the new projectors.
I firmly stand by my 15 minutes mention! It doesn't take hours...if it did, you'd need more time in between shows. Please just stop...

In terms of the ROS and rental cost...that set of rules has been modified as well, some companies are doing it via attendance since theatres have long complained about being stuck paying a high cost of renting a film that draws low numbers. This way everyone's happy.

 

[Savage]

Okay, luvcoors - I consider myself corrected. The feature isn't shipped on reels any more? The reels aren't spliced together into the platter system? What are they doing, some kind of digital distribution now instead of 35mm prints?

Yesterday I belatedly got to WALL-E at Pittsford Plaza. I can tell you they were using the system I described. In fact the platter had some kind of intermittent grab-and-release problem which was causing a regular snap-and-wow kind of effect in the sound track at irregular intervals. It was very distracting. I do miss the days when there was a live projectionist who would notice and correct such problems.

I did oversimplify in describing the traditional rental system. Typically the feature is rented for a minimum "against the house," so if there are enough tickets sold to wipe out the minimum guarantee the compensation is based on a percentage. But almost always there's a minimum per-screen rental charge. That was the basis of my statement.

 

[luvcoors]

Some are using reels with a much simpler set-up, a lot have gone to digital from the last 2 cities I've lived/live in.

Like I said if you're running The Dark Knight in 2 theatres with barely 35 minutes between showings in each theatre...whether you had mulitiple prints for each room or whatever...it don't take hours to load up!

 

[SirRoxalot]

Duelling A-V Kids

While this discussion of projection methods is fascinating, there are other factors preventing a last-minute move. These days, you can order your tickets on-line hours or days in advance. Box offices use computer systems that are pre-programmed for specific movies at specific times. Shifting patrons from one theatre to another at the last minute sounds like a logistical nightmare, irrespective of the projection technology.

Free movie premieres are routinely oversold. Station personnel who were given tickets were usually told that their attendance was dependent on "available seating". If all the people who won free tickets showed, station personnel were shut out. Since the crackdown on payola, I doubt that many station personnel get free tickets these days (i.e. "here are a pair of movie passes - sign here, here, and here, and we'll be taking taxes out of your pay based on the value of the tickets").

Was anybody from the station there to resolve the issue? Where was the station promotions person and/or the account exec? SOMEBODY should have been there to resolve the issue and find some solution that would satisfy those people who were shut out.

I fully understand that it's sometimes impossible to satisfy some of the "prize pigs" who infest this type of event. I also understand that 50 unsatisfied people may have a greater impact on your station image than the 250 people who got what they came for.

Most of all, make sure that people know EXACTLY what they've won when they come to pick up the tix. Tell them that the movie is on a first-come-first-served basis when they sign for the tix.

 

[luvcoors]

Re: Duelling A-V Kids

While this discussion of projection methods is fascinating, there are other factors preventing a last-minute move. These days, you can order your tickets on-line hours or days in advance. Box offices use computer systems that are pre-programmed for specific movies at specific times. Shifting patrons from one theatre to another at the last minute sounds like a logistical nightmare, irrespective of the projection technology.

Free movie premieres are routinely oversold. Station personnel who were given tickets were usually told that their attendance was dependent on "available seating". If all the people who won free tickets showed, station personnel were shut out. Since the crackdown on payola, I doubt that many station personnel get free tickets these days (i.e. "here are a pair of movie passes - sign here, here, and here, and we'll be taking taxes out of your pay based on the value of the tickets").

Was anybody from the station there to resolve the issue? Where was the station promotions person and/or the account exec? SOMEBODY should have been there to resolve the issue and find some solution that would satisfy those people who were shut out.

I fully understand that it's sometimes impossible to satisfy some of the "prize pigs" who infest this type of event. I also understand that 50 unsatisfied people may have a greater impact on your station image than the 250 people who got what they came for.

Most of all, make sure that people know EXACTLY what they've won when they come to pick up the tix. Tell them that the movie is on a first-come-first-served basis when they sign for the tix.

I mentioned all of the same things you said in your final 4 paragraphs before the great projector debate with Bob. You're right about how everything's computer logged to track sales, etc. But all that can be changed for records after the fact when interjecting the human element of switching people around after the fact to fix an issue. Some of the unhappy will also blame the theatre for the same reason when they come to the same conclusion!