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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Tips on screening rooms (Page 4)

 
This topic comprises 6 pages: 1  2  3  4  5  6   
Author Topic: Tips on screening rooms
Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99

- posted 11-30-2007 06:32 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
In the US, at least, you can't just put up a web site and ask for investors to send you money. There are quite a few complicated SEC requirements that apply when one makes a public solicitation for investors. This is where the lawyers get involved and things get expensive and slow. It's better/faster/easier/cheaper to solicit investors privately whenever possible for these reasons.

Also, consider that films have historically been lousy investments and that most people would be wise to invest their money in ventures that are more likely to provide returns.

Personally, I would tend to question the need to purchase equipment if the budget is limited. It's probably easier and cheaper to rent whatever is needed for the production. Rather than spending money on building a screening room, it might be better to work a deal with a local theatre for the use of their space during off-hours. Maybe buy them a good anamorphic lens or pay for a service call or something in return for them allowing the use of the theatre to run dailies and screenings. Grip equipment is probably best rented locally due to the weight and bulk, but cameras and sound equipment can easily be shipped in from elsewhere.

In any case, I wish Steve the best of luck with his project and applaud his decision to shoot in anamorphic, which is becoming progressively less common as filmmakers gravitate toward the inferior super-35 format.

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Chris Slycord
Film God

Posts: 2986
From: 청주시, 경북도, South Korea
Registered: Mar 2007

- posted 11-30-2007 06:34 PM      Profile for Chris Slycord   Email Chris Slycord   Send New Private Message       Edit/Delete Post 
quote: Steve Beverly
Yes well isn't that exactly what he's doing? He states that "Investors won't touch people who aren't serious and who come from the low-quality low-budget mentality. It's a vicious circle."

when 16mm is the ULTIMATE low budget format and far less quality image wise than 35mm anamorphic which he "Respectfully," requests me to "please think about what you're doing." That IS most definitely hypocritical in that by agreeing to help edit somewhat inferior quality 16mm film his actions belie and gone against his own stated beliefs.
You're comparing apples with oranges here.

If I made the best 16mm editing facility around, investors might take a look at me. On the other hand, if I made the worst 35mm editing facility around they'd avoid me like the plague.

So if a guy had a good 16mm editing facility and spared nothing on making that part good and told the guy who had a bad 35mm facility that he was cutting too many corners, you couldn't really call the guy a hypocrite.

Note: I'm not saying that your's is the worst; I'm just using that to illustrate a point.

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Brian Guckian
Jedi Master Film Handler

Posts: 594
From: Dublin, Ireland
Registered: Apr 2003

- posted 11-30-2007 06:41 PM      Profile for Brian Guckian   Email Brian Guckian   Send New Private Message       Edit/Delete Post 
quote: Scott Norwood
In the US, at least, you can't just put up a web site and ask for investors to send you money. There are quite a few complicated SEC requirements that apply when one makes a public solicitation for investors
I felt that was understood in my post, and of course it's not as simple as that. However it has been done, and it can be done, and I think the bottom line here is one of attitude and approach.

Anything is possible - it's just about mindset. I do think it's really healthy to challenge these baseless assertions that "there's no money" and "it's impossible", etc. etc.

And it is relevant right here in that if you want to correctly project an anamorphic image you must spend the money on a correctly- and carefully-engineered instrument to do that. It costs money because there is complex engineering involved. That needs to be respected.

[Could these people help you Steve?]
El Paso Filmmakers

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Steve Beverly
Film Handler

Posts: 83
From: El Paso, Tx.,
Registered: Nov 2007

- posted 11-30-2007 07:25 PM      Profile for Steve Beverly   Email Steve Beverly   Send New Private Message       Edit/Delete Post 
While I appreciate the suggestions and the offer of $200 bucks, how do you know Blood Moon Rising is inferior product, you haven't read the script or seen conceptual art for it? Although I like the name, it really doesn't tell you anything. Movies like Night of the Living Dead, Invasion of the Body Snatchers, The Thing from Another World and Psycho were ALL low budget, exploitation picture, NONE of them were inferior product. And you're right, there is PLENTY of money out there....AFTER you've had a hit OOORRR at least made a profit on a few films, people will throw buckets of cash at you if they think they're gonna make buckets of cash back. It seem I need to challenge your mindset and perceptions about what is the negative "cheap and nasty" ethos. Blood Moon Rising takes many cues from Apocalypse Now, Lawrence of Arabia, Cat People and Jaws and on another note about my business plan go to:

www.cinematography.com/forum2004/index.php?showtopic=27043

check out Richard Boddington's experiences at AFM and see what was selling there, then tell me how much I need to re-tool.

Scott, I found for what it would cost to rent equipment over a 3 or 4 week shoot, I could own it,,,, and use it to make more movies, same thing with processing and editing. Again, everything I buy, I get in great condition at a good price or I don't buy it. As for working out a deal with theater owners, I'd be limited to their schedule which is not appealing to me especially as I've gathered a lot of what I need already, I have the space to build a screening room and am looking towards the future so buying also makes sense there plus theater owners will probably get upset if I borrow their projectors when I go on location. [Big Grin]

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Jeremy Weigel
Phenomenal Film Handler

Posts: 1062
From: Edmond, OK, USA
Registered: Mar 2007

- posted 11-30-2007 11:30 PM      Profile for Jeremy Weigel   Email Jeremy Weigel   Send New Private Message       Edit/Delete Post 
quote: Scott Norwood
Rather than spending money on building a screening room, it might be better to work a deal with a local theatre for the use of their space during off-hours.
We did this for a local film maker (Rick Walker)
Rick Walker IMDB

a few years ago. He screened his feature "Sam & Janet" for his investors if I remember correctly. And as way of saying thank you, he gave myself and the other managers who were here a generous stipen as a thank you. [Smile]

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Steve Beverly
Film Handler

Posts: 83
From: El Paso, Tx.,
Registered: Nov 2007

- posted 12-01-2007 03:30 PM      Profile for Steve Beverly   Email Steve Beverly   Send New Private Message       Edit/Delete Post 
Actually for investor screening, I DID plan on using a commercial theater in the off hours. It makes more of an impact and impression. They can immediately see the project coming to the theaters even if no distribution deal has yet been struck. It's a good strategy many people have employed. I remember an interview with the Coen Brothers, where they talked about trying to raise money for Blood Simple. They said whenever they would call people up and ask for money, they would get hung up on BUT, when they would call people up and ask if they would like to see a film, they got much better response. They went ahead and shot a trailer with actors and scenes that never did appear in the actual film but it was enough to get them the funding they needed. Good lesson to be learned there. [Cool]

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Steve Beverly
Film Handler

Posts: 83
From: El Paso, Tx.,
Registered: Nov 2007

- posted 12-03-2007 06:05 PM      Profile for Steve Beverly   Email Steve Beverly   Send New Private Message       Edit/Delete Post 
Well, I ended up buying an A.V.E. that was designed as a dailies projector. It's portable and has reel arms for the mag reels already incorporated into to projector, it is also capable of reading optical tracks on prints AND it was in my price range. I've never scene a dual purpose projector and this one is from the 50s so it's fairly old and parts are a concern, but it is in working condition at the moment. I will still have to pick up an anamorphic attachment for it but I'm on my way. Dose anyone know of any places that service and have parts for these projectors?

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Richard Fowler
Film God

Posts: 2392
From: Ft. Lauderdale, FL, USA
Registered: Jun 2001

- posted 12-04-2007 08:13 AM      Profile for Richard Fowler   Email Richard Fowler   Send New Private Message       Edit/Delete Post 
This was a projector that was made by Shinkyo Electric of Japan which now makes video projectors. This model has been out of production for many years. A.V.E. imported and modified them in the 1960-70's and created interlock, portable and mini cine changeover systems. They handle film better than the Tokiwa T series portable due to the framer rotating the intermittent sprocket instead of adjustable bearing rollers. Rangertone may be able to source parts since they where the last importer.

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Steve Beverly
Film Handler

Posts: 83
From: El Paso, Tx.,
Registered: Nov 2007

- posted 12-04-2007 06:56 PM      Profile for Steve Beverly   Email Steve Beverly   Send New Private Message       Edit/Delete Post 
Thanks for the information, Richard. It was listed as a 50s projector so it's good to know it's a bit newer. Do you have a website or phone number for Rangertone? I did a Google search but did get a satisfactory listing.

I still need to find an anamorphic lens or attachment for this projector, I assume, being a dallies projector from the 60s and 70s, it had anamorphic lenses or lens attachments available. What would you recommend?

Also, a friend of mine mentioned that Xenon was the light source used on most modern projectors and for color timing, I may have to cover the lens with a CTB filter or change out the light source to Xenon any ideas on that. In addition the seller said the sound needed to be updated, any thoughts on that? Anyone? [Cool]

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Cameron Glendinning
Jedi Master Film Handler

Posts: 845
From: West Ryde, Sydney, NSW Australia
Registered: Dec 2005

- posted 12-04-2007 07:29 PM      Profile for Cameron Glendinning   Email Cameron Glendinning   Send New Private Message       Edit/Delete Post 
quote: Steve Beverly
seller said the sound needed to be updated, any thoughts on that? Anyone?
quote: Cameron Glendinning
I'm a bit lost on whether you will ever run regular prints? As a modern red light reader is now required for the last few years worth of films made. Its quite possible a second hand projector would not have been modernised.
quote: Scott Norwood
If you will just be showing your own films, then you do not need the LED reader soundhead upgrade. Just be sure to order your release prints with either "silver" or "high-magenta" optical tracks. These are pretty much standard for small print runs, anyway, and will play fine on any soundhead. Obviously, none of this is an issue when running interlocked sound on the dubber.

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

- posted 12-04-2007 07:49 PM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
No professional DP would ever run dailies on that except just to verify that the camera even just worked. Beyond just seeing an image it can't be used for QC or grading of any sort.

Color temperature is wrong

Steadiness is not going to be adaquate nor come close to SMPTE specs.

Wow and flutter and frequency response are not going to be adaquate for the sound mixer.

How is the flatness of focus? I say doubtful...

Dailies are all done via DLP these days anyways.

I woulda bought the DeVry over this! With some work it IS possible for a DeVry to meet SMPTE Specs... A DeVry CAN be adapted to Xenon with just a little work.

Mark

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Steve Beverly
Film Handler

Posts: 83
From: El Paso, Tx.,
Registered: Nov 2007

- posted 12-04-2007 08:18 PM      Profile for Steve Beverly   Email Steve Beverly   Send New Private Message       Edit/Delete Post 
Well, that's a depressing thing to know. One of the main reasons I bought it was because of the Mitchell Cope Screening Room pictorials here at Film-Tech:

www.film-tech.com/warehouse/pics/cope/cope.html

which had one almost identical to this except there were no mag reel arms and it fed from a Christie platter system so I figured if he went to all that trouble it had to be halfway decent. I suppose I can sell it and go with something else. I'm just curious though, if these are such crappy projectors, why did they make them with the mag reel arms for screening dallies?

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Gordon McLeod
Film God

Posts: 9532
From: Toronto Ontario Canada
Registered: Jun 99

- posted 12-04-2007 09:00 PM      Profile for Gordon McLeod   Email Gordon McLeod   Send New Private Message       Edit/Delete Post 
My experience was as portables go the only one i would use was the MP30 and even it had issues the only other portable is the wassman that I would consider

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99

- posted 12-04-2007 09:32 PM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
I couldn't tell you why he used it in his screening room... Like I said... to see if the camera works its ok... but beyond that its not usable.

None of the films I serviced ever had any portable projector... it just wouldn't cut it for the reasons I listed above. These folks are super critical and even both projectors need to be color matched to within a decent tolerance. I used either my own on board mag playback design based on the Century projector and Century 3-D sound reproducer or a pair of Century's and electronic drive MTM dubbers. None of the gear I own is what I would call portable. A complete dual machine booth fills the back of a full size pickup.

Hopefully you can return that projector to whom you bought it from and get your dough back. I think you need to study up on projectors a good deal more and not just jump into something that comes along because its cheap. A good reliable projector is as important as a good camera and lenses are if not more so... without one you have no idea whats on your film!!

Mark

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Steve Beverly
Film Handler

Posts: 83
From: El Paso, Tx.,
Registered: Nov 2007

- posted 12-04-2007 09:46 PM      Profile for Steve Beverly   Email Steve Beverly   Send New Private Message       Edit/Delete Post 
Well, I believe that Super Simplex is still available and it comes with what looks like modified Magna-Tech turned into a film tower so maybe that might be the way to go. The DeVry is still also availible and it's simi-portable.

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