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This topic comprises 2 pages: 1 2
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Topic: Print Costs?
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 06-10-2003 11:36 PM
Then again, if the damage was the theatre's fault, the distrib could ask almost anything they want. If the theatre lies down and pays it so as not to be punished later to get play on other big titles (illegal -- but very hard to prove), then the distrib can pretty much ask whatever he wants. If it comes to a court battle, then the distrib would have to show actual costs and probably get an allowance for paperwork and time as John said. Thing is, no one wants to wind up fighting the guy who is going to supply your next blockbuster.
Does anyone know if there is such a thing as print insurance? Seems that if a distrib can ask $6000 for a replacement, and accidents can happen with the poorly trained personnel that populate many booths, you would think any owner would have a way of getting relief in such a case. Then again, you would think a smart distrib would add a voluntary "in case of damage" insurance clause on the contract, much like the car rental companies do on their contracts. You know, the "Initial here and you're covered for any damage -- it's only $5" clause. "So if I sign there, then I can enter the car in the demolition derby, eh?" My last Enterprise car rental agent didn't see the humor.
Frank
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 06-11-2003 11:17 AM
For 35mm release prints in large quantities, lab costs should be in the $.10/foot (or maybe lower) range, judging by the price sheets that I've seen. Also, figure on maybe $40 each per ICC shipping container and $5-10 each for good plastic reels. Costs will be much higher for one-off prints, laser-subtitled prints, B&W prints, one-off 16mm blowups, EK prints, etc. An answer print (of the type that one might find at festivals) can easily cost $10k. ![[Eek!]](eek.gif)
Of course, the distributor can charge whatever they want for replacement prints and that charge may or may not have anything to do with the actual lab costs. I've never had to replace a print, so I don't know what they actually do charge.
Frank--I think that the insurance thing is an absolutely terrible idea. Wouldn't it just encourage people to say "it doesn't matter, we're insured" and then proceed to damage film?
Since it is in the distributor's interest to have good-looking prints, it only seems logical that they would spot-check prints upon their return to the depots (maybe inspect one out of every hundred or so) and bill theatres that returned them in bad condition. At least, that's what I'd do. That would be cheaper than inspecting every print, and would be enough of an incentive to encourage theatres to not damage film that fewer second-run and repertory houses would end up with crappy prints.
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Don E. Nelson
Expert Film Handler
Posts: 138
From: Brentwood, CA, USA
Registered: Nov 2001
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posted 06-11-2003 02:57 PM
...............too bad it wasn't a print of "The Hulk," that was destroyed............now there's a BIG waste of perfectly good celluloid film.
I understand "The Hulk" was to be originally filmed in a new film format called, "Hulk-o-Rama" where the film speeds up to 48 fps when the BIG green guy is on the screen,and this was supposed to give the cinematic illusion that this BIG green guy was really as BIG as he appeared to be on the screen, .......it was to be the first BIG psychological cinematic illusion from a BIG Marin County FX house called . "Shrink Wrap Effects" , and this may account for the reason why this 93 minute film reportedly seems like it is over 2 1/2 hours long, according to people who previewed this BIG film before it was even shot.
It was going to be shown only in specially outfitted "Hulk-o-Rama" Multiplex Theaters with an especially BIG Hulk-o-Rama matrix sound system built into one of the new spandex "active gain" movie screens.
One of the really BIG theatre chains even anticipated re-modeling their snack bars and calling them "Snack-A Ramas" and supposedly they were only going to sell green colored drinks and snacks and you could only use green money to buy the stuff. (Unbelievable) Another really,really BIG theatre/movie studio chain even went as far as installing special Hulk-a- Mania green cordauroy seats in their BIGGEST stadium seating auditorium, and installed a specially woven "glow in the dark" green carpet.
The ushers were only going to be allowed to check the thermostat with green colored flashlights.
Too bad we have to settle for regualr 35mm version, shown in a regular multiplex with regular snacks. Whats the BIG deal anyway.
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Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 06-11-2003 06:22 PM
Scott wrote:
quote:
Frank--I think that the insurance thing is an absolutely terrible idea. Wouldn't it just encourage people to say "it doesn't matter, we're insured" and then proceed to damage film?
I have never damaged a print, but I used to have insurance to cover me, just in case. I gave it up when I went for several years without doing any projection work, but now that I am doing some again, I think it is time to get it again. I used to have cover for up to five thousand pounds, which should be enough to cover most prints, not 70mm, but I've only run that once but I did quite often handle 'special' prints.
I've only ever run single screens, and always stay with the machines while they are running, so the chances of damaging more than a single reel are slight, but I wouldn't want to risk having to pay out for a new print. I can't remember how much the insurance cost me, but it wasn't very much, tens of pounds per year. Having insurance seems sensible, I'm not going to take less care handling prints just because I've got it.
What really makes ne nervous is projecting original 16mm camera reversal material, if you damage that you've had it.
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Per Hauberg
Jedi Master Film Handler
Posts: 883
From: Malling, Denmark
Registered: Jul 2000
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posted 06-11-2003 06:37 PM
When Denmark is going to real highs, for instance on local comedies, the number of prints is about 100, and the cost of a 2400 meter 8.000 feet print then is as low as 6.-7.000 DKR = less than 1.000 USD - Original language, no subtitles, which must be same as Your Nemo print.
I once re-issued "Battle of Britain" (don't ask me why), and after 5 prints coming over the big waters and returned from one reason or another (two were pan & scan for video...) United Artists ended up with ordering me a print, stuck by Technicolor London from the original wault neg, on which they had to do manual filtersettings for every scene - the print costing 54.000 DKR = 7.200 USD (in 1985) before subtitling. 7 reels, but still the most expensive print, i've ever bought.
Danish cinemas can't book films at all, without confirmed insurance coverage of every single print in house and under transport. Distributors association will announce price on 35 and 70 mm prints once a year to renew. -Noone talked about 70mm prints the last 10 years, though...
Normal insurance will cover "all-risk" that is both film prints and equipment.
p.
[ 06-11-2003, 07:48 PM: Message edited by: Per Hauberg ]
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