1) You should keep the same lens ratio (ie scope/flat) for the whole print -meaning a couple of flat and a couple of scope trailers.-Yes or No

2) Do you normally try to accompany the same distributing companies trailers on that same print. -Yes or NO

3) Is there normally an order as to placing them on the print: ie by release date or any other fashion. -Yes or No

Any other info I may have missed please add it to my list.

Thanks

Richard
 

1 - If the film is flat, play flat trailers, if the film is scope, play scope trailers.

2 - This step is cut out from me, as I get "Trailer Commands, er Requests" from the home office - I simply play what they wish. Basic guidlines - Never play more than one trailer from any film company, except the one who distributed the movie, then play the attachment and one other, also never play fewer than 5 trailers per print.

3 - order is insignificant - it'll get changed around as you add new trailers, etc.

There's my two cents worth.
 

2. Cinemark gives a "request" with mandatory and alternate titles. I believe the rule is as above. No more that one or two from the same company.

3. Again, order unimportant although I like to place the attached at the end of the trailers just so that the trailer checker has to watch the whole thing just to verify that we put it on.

Paul.
 

Basicaly, other than the attached trailer, its all your discretion.
 

Then play your policy trailer if applicable, followed by the appropriate digital snipe.

House lights should be cue-ed to fade to black simultaniously with the last "subwoofer pulse" on the Dolby "Canyon" snipe.

"Canyon" is (was) the best of the Dolby trailers. Ken, why did they stop printing that one!?

Russ

 

2)the accompaning trailers and request forms are often an attempt by a company to get their trailers run on a film or in a theatre they have no agreement with. as a rule i dont put on anything the man downstairs doesnt tell me to.

3)i always put the trailers i like on first... that way i always get to enjoy them when i frame the movie. if all the trailers suck i try to find something easy to frame
 

Only one of our plexes has automatic turrets, so all the trailers are in the same format as the feature.

Our policy states that we play 7-10 minutes of trailers (including the attached one, if applicible) which usually means 3-4 trailers including the attched one.

I do my best to place trailers that are appropriate for the feature, no family trailers with R-rated films and no 'hard PG/PG13' or R-Rated movie trailers with G films. Sometimes the attachments are inexplicable, case in point was Sony's asinine decision to attach 'Mirror Has Two Faces' on 'Fly Away Home' we got tons of complaints about "the preview with Jeff Bridges and Barbra Streisand Talking About Having Sex"...obviously it was removed soon after. I also seem to remember Warners attaching 'Quest For Camelot' and 'Space Jam' trailers to some R-rated titles back in the day... enough of this rant...

Last thing I do is place all the trailers that are on the feature's DTS disks LAST. This way all the analog trailers play in analog and then we switch into DTS for the remainder.

Aaron

 

Now we always program the same format. My booth isn't near as automated as the last one. We have manual lenses and manual masking.

We are careful only to program films we are going to get or films we might get. If the competition gets one of our films, we pull the trailer quickly.

We try to place trailers for films we are currently playing near the front so we can remove them easily. We have a shortage of trailers so we play cross plugs for are other screens. That said we try never to program more than three. I like trailers as much as the next guy but nobody remembers the middle trailers. After too many trailers it all becomes noise.

What we can't believe is the film companies that run out of trailers. It is their number one method of marketing. When they deny us a trailer it's like saying, "We don't want to make any money." Technicolor does this to us each week. We always call Exhibitor Relations for the film company involved and usually we get a couple of trailers.

 

------------------
Bob Minge
Manager/Projectionist
Westridge Cinema 5
Fergus Falls, MN
 

1) You should keep the same lens ratio (ie scope/flat) for the whole print -meaning a couple of flat and a couple of scope trailers.

If the feature is flat, we run only flat trailers - scope; only scope trailers. The zipper does not close when the turret rotates; that's why we do it that way.
I have yet to find out "who" is responsible for this: the turret control box on the Simplex, or the automation.

2) Do you normally try to accompany the same distributing companies trailers on that same print.

No, we want to advertise all studios films we might get, on any film we are running. We mix them all. Of course, we're not going to put on a trailer for "Shaft" followed by one for "Thomas and the Magic RR."

3) Is there normally an order as to placing them on the print: ie by release date or any other fashion.

No, since they are added to and/or changed every week, it would be too much to remove and insert certain trailers at certain locations. If the trailers are *generally* for similar films, it usually shouldn't matter.

We don't put on any more than three trailers at a time. We don't cut off the green rating section at the beginning. I try to get the kiddies to leave on as much "black" at the head and tail of trailers, so there's a nice "pause" or break between. As soon as the film opens (at our theater or elsewhere) that trailer is removed from all screens. We usually throw them away, as our company has no "mechanism" to send them out for return.
 

------------------
Scott D. Neff
----------------
www.cinema-west.com
 

Welcome to Regal. This is policy (cutting off the green bands) at all Regal theatres. I would have to say that you are probably correct about upper management not knowing much about projection, but, wadda ya gonna do? As for arguing about it with anyone, I wouldn't try it. Welcome to corporate culture.

-Mike
 

IMHO, I think it's a terrible idea. First of all the sound issue is a MAJOR presentation degredation. Worst one I saw was ver 1 of 'Bringing out the Dead' there were 1 and a half lines of dialogue in the green band that was cut off. Second, I like the break between trailers, lets people 'prepare' for something different. Third (and others disagree) I think that the look good. That's is, as long as you keep your films clean. It's almost a way of showing off how clean your prints are.

Unfortnately, there really isn't anything that can be done about it from our end, so I grudgingly cut them off.

In general, I have a lot of freedom in my trailer programming, at least 8 minutes, and not to exceed 15 minutes, including policy trailers, attached trailers, and appropriate digital snipes. For the most part, I just attach whatever is loose in the can, and if the doesn't make it up to 8 minutes, I'll scan my shelf for something appropriate to make up the needed time. In eight months, I've only heard one complaint* (from a customer) about my programming choices, and when informed of this I just shrugged, and pointed out why I felt the complaint was a bit silly. I had put a Coyote Ugly(a PG-13 film) trailer, on The Kid (a PG film). The customer's opinion was that the trailer was lewd and inappropriately placed before a children's movie.

Well...the point I made was that the preview was most certainly a green band, which meant that it had been approved for all audiences, regardless of the rating on the film; but besides that, a PG rating does not necessarily mean that a film is a children's film, the rating in fact is to adivse parents that there could be material in the film that they wouldn't want shown to their young children. If they are seeking something appropriate for every age level, they need to stick to films that get a G rating.
I was simply annoyed by the matter.
I have not changed my 'style' of programming either. (This board could benefit from an :evil: smilie!)

* - though the spring into the early part of the summer, my coworkers complained that they were sick of seeing an X-Men trailer on virtually every film in the building... To which my usual response would be an evil laugh, then a quick retreat to my "dungeon"!

~Gracia

------------------
In some cultures, what I do is considered normal.
 

------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
 

Of course, this assumes that the sndtrk. doesn't go into the green part. If trailers could be made that always have proper transitions fom one to the next, all that would have to be done is to add a 5 sec. snipe at the beginning that says, "All previews are approved for all audiences."

Maybe they could also announce the films rating at the end of the preview, like they sometimes do on TV?
 

I too have had some complaints about trailers (refer to the earlier post about the 'Mirror Has 2 Faces' trailer attached to 'Fly Away Home' controversy)...

I would never had placed 'Ugly' with 'Kid', not to be prudish, but because its a matter of preaching to the wrong demographic, as 99% of those seeing 'Kid' would never go to 'Ugly' anyways.

I have heard complaints from some about some of the slide advertisers at one of our locations: One of the advertisers is a store specializing in lingerie, sensual herbs and fragrances, and most likely a variety of sex toys, although there is NO mention of that part of the business in the ads. the ads are clean one of them has a picture of Venus De Milo draped in silk, and the others are of the two business owners along with the name of the business 'The Sensuality Shoppe' on a red background, Basically a harmless slide. Well a number of people strongly objected to these slides being displayed before any feature for children... Get a Life people... Bitch at the store, Not Us!

Aaron