Disagree totally. Why shouldn't he hold out for a big payday? All I ever heard, before this copy surfaced, was how if anyone had it, it would be worth a million dollars. Then, when the tape turned up, they offered him $30,000 for it. All of a sudden, it dropped in value by $970,000 from when it didn't exist to when it did. Just because NBC and CBS were both too stupid to save the tapes. By the way, Super Bowl 2 is missing as well. But I guarantee you that if you turned up something rare, anything, a painting, a coin, whatever, and you were being offered a fraction of the stated value for it, you wouldn't jump at the deal either.
But honestly, how did they come to the value of a million dollars? It's worth as a historical importance has be be weighed against what the NFL could generate by sales on DVD or ad dollars when rebroadcast.I mean if this guy things the league will pay him a million dollars (or more) he's out of his tree.
The networks were not stupid - nor was the league for not keeping these broadcasts - it's the culture of one-and-done. Sports history has always been about the stats, not the actual game footage or broadcasts.
He won a lawsuit against them and collected something like $17 million.
But he lost the shows, and the work he wanted continued to be seen. What few exist are in the hands of his estate never to be seen due to the settlement.
'Branded' & The Guns of Will Sonnett' were both syndicated together as a package titled 'The Chuck Conners Theatre'. No idea if the original prints survive.
'The Avengers' was itself a spin off of a half hour series called 'Police Surgeon'. Only one episode survives & appears on the first recent UK release.
Again, it is most likely the master negatives do exist on the shows - I find it highly unlikely that king world (now part of CBS) didn't retain uncut negatives to "Branded" and "Will Sonnett"
Incidentally, I don't blame the person who has Super Bowl I with wanting more from the NFL. He is the one who preserved a crude videotape recording for decades and is entitled to more than a paltry $30,000 from the NFL which can afford to give him more and which earlier placed a value much higher on an extant recording.
By contrast, there is an individual in Illinois by the name of Ewing who for more than 15 years sat on the only extant copy of Don Larsen's perfect game before he finally struck a deal with MLB that resulted in its airing. Ewing found the kinescope at a flea market literally in the early 90s and for years afterwards first didn't confirm he had it (in the meantime figures associated with the broadcast like Mel Allen and director Harry Coyle had passed away and were denied the chance to see it again) then in the mid-2000s he started charging admission to see it at private screenings (usually on the order of several hundred dollars) before finally MLB got hold of it in a deal where it aired on the first day the MLB Network started on New Year's Day 2009. It has since been released on DVD though Ewing himself still markets a copy himself with the Gillette ads left it. He is a different case from the Super Bowl I taper because IMO what he did to obtain the original isn't in the same category of what the SB I taper did.
The difference is Ewing is a respected sports films historian and archivist, who also runs his own business selling,and archiving sports footage particularly baseball. ( He worked for several teams and alot of that material, particularly pre-1963 is in the public domain and he saved it from neglect.)