It is not clear that the term "B movie" (or "B film" or "B picture") was in general use before the 1930s; in terms of studio production, however, a similar concept was already well established. In 1916, Universal became the first Hollywood studio to establish different feature brands based on production cost: the small Jewel line of "prestige" productions, midrange Bluebird releases, and the low-budget Red Feather line of five-reelers—a measure of film length indicating a running time between fifty minutes and an hour. The following year, the Butterfly line, a grade between Red Feather and Bluebird, was introduced. During those two years, about half of Universal's output was in the Red Feather and Butterfly categories. According to historian Thomas Schatz, "These low-grade westerns, melodramas, and action pictures...underwent a disciplined production and marketing process," in contrast to the Jewels, which were not as strictly governed by studio policies. While the down-market branding was soon eliminated, Universal continued to focus on low and modestly budgeted productions. In 1919, wealthy Paramount Pictures created its own distinct low-budget brand: the company's Realart films were made attractive to exhibitors with lower rental fees than movies from the studio's primary production line. Indicating the breadth of the budgetary range at a single studio, in 1921, when the average cost of a Hollywood feature was around $60,000, Universal spent approximately $34,000 on "The Way Back", a five-reeler, and over $1 million on "Foolish Wives", a top-of-the-line Super Jewel. The production of inexpensive films like "The Way Back" allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while also breaking in new personnel.