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Author Topic: Payment for screenings Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 03-14-2003 02:28 PM                     I find there is a lab defect in about 1 reel out of every dozen-ish prints. To me, the screenings are worth it to catch those problems and get them replaced. Things have improved at the labs over the last 2-3 years, but they are still cranking out defective reels too often to ignore a full on-screen check IMHO. Then there are the times when a new print should have arrived (first run on the break), but a used one is sent instead (from a trade or press screening). Most of the time, these have unacceptable damage when viewed on screen and the entire print must be replaced, even if they have only played one time at some uncaring theater. I haven't received a used print in some time now though, so perhaps the depots are wising up to the fact that I am not going to sit happily by and run a used print when there are thousands of brand new ones. My prints always go back to the depots flawless. I think that definitely gives me the right to expect a new print to start with (on a major release of a first run movie, of course). Send the used prints to the shitty theaters that damage everything they touch. Still though, I do feel pre-screenings are very much needed.  |  IP: Logged Lance C. McFetridge Expert Film Handler Posts: 135 From: Penn Yan, New York Registered: Jul 99 posted 03-14-2003 04:50 PM                     I pay to have the projectionist watch each movie prior to public viewing. Sometimes it takes two projectioinst to get through prior to show time, but I feel it is well worth the money spent. That is not to say that the staff doesn't show up, but they do not get paid. lance  |  IP: Logged Darren Crimmins Expert Film Handler Posts: 130 From: Dallas, TX, USA Registered: Jan 2002 posted 03-14-2003 05:44 PM                     It amazes me how many projectionists are willing to do screenings without being on the clock. When you screen a movie, you are checking the lab quality of the film as well as the sound quality, not just "watching the movie" like alot of managers think. You are at work, checking quality, so you should be on the clock, no exceptions. If management was not going to pay me to do my job of checking the presentation before it goes to the public, they can deal with any complaints that come from then on out (rainchecks for bad sound from lab defects, poor picture quality from the lab, ect.)because they won't get screened then. I had one theater that did not want to pay the projectionist for screenings, so we didn't screen them for a couple of weeks. Once he found all the lab problems with the reels were not able to be replaced and customers were complaining on Friday and Saturday, managements attitude changed quick. We were then allowed to screen on the clock from then on out.  |  IP: Logged Chris Markiewicz Expert Film Handler Posts: 209 From: Glenaviegh, County Tipperary, Ireland Registered: Aug 2002 posted 03-14-2003 06:18 PM                     I am on salary so I don't get extra for doing screenings; my other projectionist is part-time, so she clocks in to build-up and screen. We get used prints 99.99999% of the time; the only new one I remember was "Bowling for Columbine"; so there is ALWAYS damage to correct. Old foil and tape cues , sticky splices, lab splices and masking tape goo . Let's not even talk about dirty prints. Thank you Film-Guard! Without screenings our presentation would be much worse.  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 03-14-2003 08:23 PM                        quote: from Scott N.: Pre-screenings are good, but the return on investment is very low in my opinion. The backlash caused by presentation problems can take several forms, with varying degrees of importance given them by a theatre's ownership. We feel a strong personal connection between the quality of our presentations and us as the exhibitors. As our clientele becomes more regular and begins to recognize faces on our staff, we're more likely to become the focal point for how our customers view our business, good or bad. In order to keep our customers happy, and so they recognize we're serious about putting on the best show we can, it's not unheard of for us to pass out an auditorium when problems arise. As an owner, it's definitely in my best interest to minimize these occurrences! Personally, I HATE to have to fix problems during a show. Some issues have little excuse, like finding your presentation is a little out of focus... and it's 20 minutes into the show. Other issues are less predictable, but can be traced to your maintenance program if they occur too often. We had a dirty pot in one of our QSC 1500A amps drop a center channel a couple of days ago. It was a quick fix, but someone had to come out of the auditorium to tell us it had been going on for a little while. It's the 3rd time I've had that happen in the building (not on the same amp) since last August, so it appears I have something I need to pay more attention to. We're a family operation, and I'm fortunate to have a good manager/operator in my oldest daughter. Being a 4-plex, it's not a huge issue to screen our shows, and we do. Brad's comments about reel problems are valid. We had to replace 3 reels over two shows in a 2-week period. By screening, we had those reels by Friday afternoon. Oh... we also use the Film Guard system... an excellent investment even IF John has fixed the static problem!  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-14-2003 09:38 PM                        quote: ... an excellent investment even IF John has fixed the static problem! The Kodak VISION Color Print Film team fixed the "static cling" problem, not me alone. My report to ShoWest in 1993 on the Warner Bros. picture "Mr. Wonderful" identified static and projector abrasion to be issues on the polyester print films of that time. Kodak built a totally new base-making machine, and has spent over $250 Million making VISION Color Print film as good as it is today, and the improvements continue.  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 03-14-2003 10:26 PM                        Another topic, but I think that's evident. Even withouth the Film Guard, I've noticed much less trouble with static, as have other operators in my area & here on this board. Your team did a good job with that, John! Now... maybe all the theatres without Film Guard can think about putting away their WD40!  |  IP: Logged Paul G. Thompson The Weenie Man Posts: 4718 From: Mount Vernon WA USA Registered: Nov 2000 posted 03-15-2003 12:22 AM                     Yeah, Jack! Waltz that can of WD-40 to the trash masher just like I did to that case Roger sent to me at Southsound. By the way, I don't think Roger believes in that stuff anymore, thank God.  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 03-15-2003 01:50 AM                        quote: from Paul... at Southsound. Unfortunately, that's not the worst of it at that place.  |  IP: Logged Rick Stowell Film Handler Posts: 13 From: MN Registered: Feb 2003 posted 03-15-2003 01:14 PM                     "But we all know that theater owners tend to be cheap"!?!?!?! I've read many of your prior posts, and thankfully have never seen any other generalized/stereotyped remarks. As a theater owner, I take exception. Theater owners are no different than projectionists or anybody else. Some are outstanding, some are terrible, and the rest fall everywhere in between. I've invited our projectionists and managers to join this wonderful site, and they can comment if they wish. We pay fair wages, hourly increases every 250 hours worked, bonuses (just paid a few thousand dollars last month), medical insurance, retirement plan, paid vacations, and I earlier mentioned free popcorn and pop for staff and guests at previews. We had over 400 people apply for 25 positions when we remodeled an existing building in 1994, and not one (including myself) had one minute experience in a theater. We now are a very successful 6 screen theater (started with 4) and each member of our staff shares in the success.  |  IP: Logged Paul Goulet Master Film Handler Posts: 347 From: Rhode Island Registered: Jan 2000 posted 03-15-2003 01:24 PM                        Welcome Rick Stowell!! How about posting in "Who the HECK are you??" in the Film-Yak Forum so we will all know who the heck you are!  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 03-15-2003 01:46 PM                        quote: We pay fair wages, hourly increases every 250 hours worked, bonuses (just paid a few thousand dollars last month), medical insurance, retirement plan, paid vacations, and I earlier mentioned free popcorn and pop for staff and guests at previews. You're certainly among the generous few Rick! I hope your staff appreciates your generousity as much as you appreciate them. Those tri-weekly wage increases sound great.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 03-15-2003 07:15 PM                        Rick--I'm glad to hear that you aren't in the majority. Unfortunately, except for a couple of independents, the theatre owners whom I have dealt with directly (three major chains [one of which is now defunct] and several independents) absolutely refuse to spend money on anything that doesn't immediately threaten their business. They won't upgrade anything that doesn't absolutely need it, nor will they pay their employees any more than absolutely necessary. I've never heard of anyone who has great projection and sound equipment, hires competent operators, keeps their theatres spotlessly clean, doesn't have pre-show slide or film advertising, and pays their employees to pre-screen every print. I don't doubt that such places exist, but I haven't seen one yet.  |  IP: Logged Rick Stowell Film Handler Posts: 13 From: MN Registered: Feb 2003 posted 03-16-2003 10:14 AM                     Dang! You mean we really aren't perfect? We DO have slide advertising, but only for 5 minutes prior to showtime, and we did poll our customers and they said they'd rather watch slides than a blank screen. We do not play commercials even though we've been offered a large chunk of money to do so. We also don't pay for screening films because it is optional. If it were mandatory, we would definitely pay at least one projectionist. And our pay increases every 250 hours? The limit is 40 hours per week, so it does take 6+ weeks. Thanks for the welcome! Since monitoring this site, we have improved our presentation, and we're at least up to film done righter than before, heading to film done right!  |  IP: Logged Patrick McDonough Expert Film Handler Posts: 118 From: Greenfield Ma. Registered: Jul 2002 posted 03-17-2003 03:33 PM                     The only time we prescreen is when it's one we want to see.  |  IP: Logged

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