|
|
This topic comprises 2 pages: 1 2
|
|
Author
|
Topic: What Are Rep. House Film Rental Rates These Days?
|
Bill Gabel
Film God
Posts: 3873
From: Technicolor / Postworks NY, USA
Registered: Jan 2002
|
posted 09-20-2002 02:51 PM
One problem with collector's prints. Is some collectors are afraid
of damage to their print. Some collector prints have never been cut
to run on a platter. So two projector operation is a better way to go. Then the grey area of print ownership. If the studio says OK, but
later comes to take the print. Question: What if you book a 16mm print for the type of showing you
are going to do? You get the public showing rights. But you run a 35mm print, from another source?
Would that work??? On video, what would the size of the room be? Because then you can see what type video projection equipment would work in that room.
We use NEC equipment but we had to upgrade the lens package on the
projector. Our projector uses a 1kw xenon bulb that in High Bright mode puts out 4500 ANSI Lumens at 210V. My throw is 42 feet from
booth to screen. Using a DVD as your source would work. But using
High-End tape formats. The studios do not make those formats availible
because that would be a master tape. When I get Digi-Beta, D5, DvCam,
Beta-SP tapes for screenings they are locked in my desk for safety.
If the studios sent High-End tapes out, all you would have to do is
connect a VHS or other and press the record button. (D5 decks run around $70,000 each or around $1650 a day on rental).
| IP: Logged
|
|
John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
|
posted 09-20-2002 03:45 PM
Bill Gabel wrote: "...High-End tape formats. The studios do not make those formats availible because that would be a master tape. When I get Digi-Beta, D5, DvCam, Beta-SP tapes for screenings they are locked in my desk for safety. If the studios sent High-End tapes out, all you would have to do is connect a VHS or other and press the record button. "An "in the clear" digital format is an open invitation to movie piracy, and would NOT normally be sent to a theatre unless security was assured. Here is what the MPAA says in the document "Goals for Digital Cinema":
http://www.mpaa.org/dcinema/DigCinemaGoals.doc "9.SECURE CONTENT PROTECTION – The system must include a highly secure, end-to-end, conditional access content protection system, including digital rights management and content watermarking, because of the serious harm associated with the theft of digital content at this stage of its distribution life cycle. Playback devices must use on-line authentication with the decrypted content files never accessible in the clear."
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
| IP: Logged
|
|
Joe Beres
Jedi Master Film Handler
Posts: 606
From: Minneapolis, MN, USA
Registered: Nov 2000
|
posted 09-20-2002 04:04 PM
I think that most collectors would be wary of allowing their prints to be used in any case where the studio or distributor knows that a collector print may be used. Especially since some would argue that it is illegal for the collector to own what could be deemed studio/distributor property. What I have seen done in the past is that the exhibitor rented the print (and had it shipped) as per normal, but then used the collector print that was in better condition. That way, the studio is still unaware of the existence of the print in the collector's possesion, but the exhibitor was able to show the best print possible. It's a lot of hassle, but the collectors I know would be quite reluctant to loan out any of their films for a public screening without knowing their print will be returned unscathed and returned, period (meaning not confiscated or stolen). If you know collectors that are willing to take that risk, then it shouldn't be a problem to pay for the rights without actually renting a film. That is essentially what is supposed to be done in the case of a public screening of a dvd, for example. As far as your video projector options are concerned, I have some questions: How much money would you be willing to spend? (i.e. are you thinking $2000, or would you be willing to spend$20,000) How far is your throw and how big is the screen? (If you know about the potential space of your theater)
| IP: Logged
|
|
Tom Holland
Film Handler
Posts: 15
From: Hidden Hills, CA, USA
Registered: May 2002
|
posted 09-20-2002 05:15 PM
Bill -- I'm planning on having a dual 35mm projector set-up, but one machine will have a platter to be used for certain showings. Any collector print I might ever project would certainly use the changeover system. Regarding the occasional use of collector prints, I surely would not want any studio claiming rights to them as you suggest could happen. If I try this route for some showings I intend to get the distrib's permission first. Whether they grant this or not is the question. Regarding video projection and master tapes, and without disclosing business confidences, I may produce my own video made up of clear public domain materials. I have no plans to ever show a contemporary studio-produced film, which is why I don't need/want DLP. If I do this, my question was what video source would be best. I suspect that mastering in Hi Def onto a computer's hard drive is the way to go. Joe -- As far as video projection is concerned I'm looking at a good long throw... maybe as much as 70-80 feet. I'm factoring in construction costs now and I can't imagine spending less than $20,000 for any kind of video projection. I was thinking more like $50,000. Doesn't Barco make something I could use? Would it accept a Hi-Def input? Thanks, Tom.
| IP: Logged
|
|
Bill Gabel
Film God
Posts: 3873
From: Technicolor / Postworks NY, USA
Registered: Jan 2002
|
posted 09-20-2002 05:29 PM
Our NEC came in at around $45,000 plus the upgrade on the lens package
(add $6,000 more) and SDI card. The input compatibility is: NTSC, PAL,
SECAM, HDTV (1080i, 720p, 480p), VGA, SVGA, XGA, SXGA, MAC .All that and it weighs 95 lbs.
| IP: Logged
|
|
Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
|
posted 09-20-2002 05:54 PM
I've lent my own prints for theatrical exhibition when the "official" prints were known to be in poor condition. When I have done this, I have made sure that the theatre owner properly booked the title from its distributor (I've asked that the paperwork be faxed to me for confirmation) and the exhibitor would take delivery of both my print and the "official" print. The "official" print stayed in the cans and they ran my print. In general, there's no reason for the distributor to know that a collector's print is being run, although they would have to be told if the copyright owner doesn't actually have a print (unless they have a 16mm print and the collector's print is 35mm or something like that). I don't know the exact legal issues here, but I can't imagine that anyone would have a problem with running a different print from the one owned by the distributor, as long as all of the exhibition rights issues have been taken care of.As for print condition: I wouldn't normally want my prints run on a platter (certainly not for a one-off show) unless I personally knew and trusted the projectionist. Two machines plus platter would be an ideal setup, though you might not even want the platter if you don't plan on keeping films for more than a few days at a time. Running collector prints can be a very grey area for titles that aren't public domain, but it's common enough that there shouldn't be any problems as long as the theatre owner doesn't do something stupid like run a print without paying the rightsholder. Also, it's probably a bad idea to pay cash to the collector for the use of the print. In the past, I've traded the use of the print for small items like a current poster or trailer, but I'd never accept cash or large trades.
| IP: Logged
|
|
Tony Ratcliff
Expert Film Handler
Posts: 216
From: Madison, IN, USA
Registered: Mar 2002
|
posted 09-23-2002 12:38 PM
I run several classics each year, esp around the holidays, for a week at a time.Rental is wide ranging. The lowest is $150 flat.
The bigger films, such as "It's A Wonderful Life" or "White Christmas" are $350 vs 35%. The worst part of the deal is paying for shipping, which has run me as much a $120 each way! And they don't give you a choice on how or with who it ships. I get local businesses to sponsor all the rental and shipping costs and then make the admission FREE. It works great, cause I clean up on the concession sales. Since I am a mid-run theatre, I can do better over-all with a free classic in December than trying to compete with the big holiday releases playing at the first run in town. Classics pull a different crowd of people. Tony Ratcliff
Ohio Theatre
Madison, Indiana
| IP: Logged
|
|
|
|
|
|
|
|
|
|
All times are Central (GMT -6:00)
|
This topic comprises 2 pages: 1 2
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion
and agrees to release the authors from any and all liability.
|
Home
Printer-friendly view of this topic