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Author Topic: Breaking Down First Run Movie Armin E Pohl Film Handler Posts: 6 From: burlington, ontario, canada Registered: Jan 2006 posted 07-13-2006 05:03 AM                     who is responsible for taking off the studio trailers. Should the first run theatre do this when breaking down the print or does Technicolour or Deluxe do this when they get the print back from the theatre ? thanks  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 07-13-2006 06:47 AM                        My policy (and most others on this board) is to sent it out in the same condition you received it....better if possible. Louis (Of course, if you NEED that trailer...it probably won't be missed after first run.)  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 07-13-2006 09:39 AM                        With an attached trailer (no splice between trailer and feature), leave it. The next theatre will remove it if they don't plan on showing it. With trailers you spliced in, remove them.  |  IP: Logged Frank Dubrois Jedi Master Film Handler Posts: 896 From: Cleveland, OH Registered: Mar 2005 posted 07-13-2006 01:44 PM                    I'd agree, just leave it as it is. We find out what trailer is attached and just add a few more. When it comes time to break it down, we take our trailers off, and leave the film with the attached trailer in tact. Usually, the movie on that trailer isnt released by the time it leaves us, so it could still be useful to the next place that runs it. If not, THEY can remove it.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 07-13-2006 01:54 PM                     There is no hard set rule on this. My policy is that if the trailer pack is not needed, to ship it back attached to the head of reel 1 (assuming there is enough room on the reel). This is the easiest way for the film depots to recycle that film AND most 2nd run theaters have to scrounge for trailers, so you are helping them out as well. An added bonus is that it saves you time when breaking down.  |  IP: Logged Nathan Fettes Film Handler Posts: 11 From: kalamazoo, MI, USA Registered: Jan 2006 posted 07-13-2006 01:57 PM                     Is it highly frowned upon to send back with out the attached trailer? We put a company 20sec between the attached and movie, and breaking down on Strong MUT, it just takes more time to get the company trailer off and then putting the attached on. I'll take the extra time if it should be done though. Thanks  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 07-13-2006 02:02 PM                        I'm still baffled that people actually leave the attached trailer attached to the first reel. Every place where I have worked has either a) inserted a policy or snipe after the attached trailer (necessitating its removal); b) run the attached trailer as part of a separate trailer reel; or c) chosen not to run the attached trailer at all. I've never worked at a place that left the attached trailer attached, and I'm at a bit of a loss to understand why anyone would. I have occasionally received second-run prints with the trailers attached, although that seems to be the exception more than the rule. In any case, the attached trailer, if removed, does not get returned with the print. Should it be? I don't know, but I've never heard anyone complain about this. Here's another question: for those who remove attached trailers: do you leave a frame of the MPAA rating band (if present) attached to the leader as a "reference frame"? This has the advantage of assuring the next theatre to get the print that the leader was cut in frame, but also has the disadvantage that the attached trailer, if used, will not have a second or so of black at the start and thus splicing tape would cover part of the first frame of the ratings band, which looks ugly on screen (whereas splices made on black film are far less visible).  |  IP: Logged Mike Blakesley Film God Posts: 12767 From: Forsyth, Montana Registered: Jun 99 posted 07-13-2006 02:29 PM                        I put a Dolby snipe after the last trailer, so the attached trailer always gets cut off. The only time I reattach it to the print is if I'm very sure we won't play that film, or we already have trailers for that film. As for the Reel 1 "reference frame," I measure about a dozen frames back from the beginning of the green band and cut there (in the black). The black leader then matches the black at the beginning of the feature. Brad's idea of leaving the trailers on reel 1 is good, although it does cause more work when we receive such a print because we have to go thru and identify all those trailers. But we've gotten some good trailers that way that we couldn't have gotten otherwise.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 07-13-2006 05:16 PM                     Nathan asks, "Is it highly frowned upon to send back with out the attached trailer?" To be explicit, no, it is not highly frowned-upon. There is no set standard, and it is the normal case that generally attached trailers are not sent back. On the other hand, I do think that, all things being equal, it is best to send it back, for the reasons Brad gave. Second-run theatres do appreciate trailers. Scott, I really hate it when people leave a single frame of trailer green. All too often I get prints that have such a frame and no associated trailer, and of course, they have to be cut off. --jhawk  |  IP: Logged Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 07-13-2006 05:41 PM                        Whether it's highly frowned upon, or who might be doing the frowning, I wouldn't know. I do know that the studios send plenty of printed material out, claiming that the attached trailer constitutes part of the print and therefore is expected, by the terms of the theatre's license condition against modifying a print, to be played. As with the rest of you, I know of few, if any who don't at least insert local content in there, and there's always the question of whether the trailer is for a film that's likely to ever play at that theatre. The other issue I'd be interested in knowing from the rest of you, is whether you leave all of the black film that follows the "included" trailer. Warners started putting an interminable delay in there a couple of years ago, and I've seen some other studios doing it this year. It's just about long enough to make you wonder if something's wrong in the booth... well, maybe not, but it seems curious to me none the less.  |  IP: Logged Mike Blakesley Film God Posts: 12767 From: Forsyth, Montana Registered: Jun 99 posted 07-13-2006 05:47 PM                        With Warner Bros prints, I'll put the lights-down cue at the very beginning of the long black part, so there's a nice slow fade into total darkness, and then the feature begins.  |  IP: Logged Bill Enos Film God Posts: 2081 From: Richmond, Virginia, USA Registered: Apr 2000 posted 07-13-2006 10:04 PM                     We're second run and don't play trailers at all. Two reasons, first the customers have probably seen them more than once and second, over half the movies promoted in the trailers that come in attached we will never play. I think the customers appreciate not being subjected to the endless stream of crap. When was the last time you had a customer ask if you could play more trailers?  |  IP: Logged Charles Greenlee Jedi Master Film Handler Posts: 801 From: Savannah, Ga, U.S. Registered: Jun 2006 posted 07-13-2006 10:45 PM                        At the Carmikes, we left the attached trailer just that, attached, and our Carmike trailer and then sound format trailers came before that. The attached trailer is in ADDITION to the 4 or 5 trailer Carmike assigns to the print. Also, I'd collect the loose trailers we are done with (movies already came out), and return them with a print going back. Not company policy there, but I figured the labs could at least recycle them, and it makes our trashbags alot lighter. At Regal, we cut the attached trailer off, and add it to the rest of the trailers, putting the Regal trailer just before the feature. The sound formats are one of the first trailers here, oddly enough, though I'd prefer to do them last. This time the trailer is already considered one of the 4 or 5 assigned previews. It's not company policy, but we never return the attached trailer. So far we don't return any of the trailers, though I'm going to start doing like I did at Carmike, and return the finished trailers with the movies.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 07-14-2006 04:09 AM                     I would keep them...come in handy for future presentations..  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 07-14-2006 06:53 AM                        Actually I don't think that the master contract does in fact say that attached trailer must be played. For sure it talks about playing the feature from beginning to the end, but the feature means the actual title, not necessarily all the crap they decide to attach. In fact, if they were to try to legally push that, I think a theatre would have a good chance of pushing back equally hard and even winning by asserting that it is one thing to play a trailer that the theatre is planning to book, in such a case it is to the mutual advantage of both the theatre and the studio, but when the theatre has no intention of booking a title, then the studio is essentially trying to get free advertising for their product without compensating the theatre for screen time; in fact, the studio is not just trying to get free screen time, but they are charging the theatre to run it by virtue of the rental fee. Talk about adding insult to injury. I contend that it is even more than monetary -- it actually is detrimental to the theatre because it confuses the patrons since they will conclude, rightly so, that the picture will be playing at the theatre they are in. If the studio wants to advertise on a theatre's screen, then the theatre should mail them whatever form they use when they sell screen time to local merchants. Throw in a cover letter saying how glad they will be to put the studio's advertisement in the rotating stock. No difference as far as I can see than any other merchant. And if they don't like the idea of paying for screen time, I have a simple, equitable solution: take a few percentage points off my rental. Why should the studio think it can get screen time on my dime? It's just arrogant....which I am sure will surprise no one.  |  IP: Logged

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