CFI - Cinematic Forecasting and Investment Assurance LLC ™

Investor Opportunities in Motion Picture Profits through Feature Film Box-Office Forecasts / Pre-Production Script Development / Cinematic Archetype Casting / Component Formulation Design / U.S. and Global Market Consulting & Mass Audience Forecasting

1.1 future film forecasts

1.2 last weekend forecast

1.3 - 2011 profits & loss

1.4 - 2010 profits & loss

1.5 - 2009 profits & loss

1.6 - 2008 profits & loss

1.7 - 2007 profits & loss

1.8 - 2006 profits & loss

1.9 - 2005 profits & loss

1.10 - 2004-2002 charts

1.11 - 2001-1999 charts

1.12 CFI CONTACT INFO

2.1 intro to CFI

2.2 twenty-one questions

2.3 beta-testing complete

2.4 products & services

2.5 application & benefit

2.6 comparing methodology

2.7 client applications

2.8 four screen dynamics

2.9 playability errors

2.10 quadrant solutions

2.11 forecasting accuracy

2.12 edge on competition

3.1 film components

3.2 simple components

3.3 complex components

3.4 resolution components

3.5 horrific components

3.6 the two behaviorisms

3.7 audience psychology

3.8 suspending disbeliefs

3.9 four media approach

3.10 reading their faces

3.11 observing audiences

3.12 observing emotions

4.1 archetype vs. stereo

4.2 modern archetypes

4.3 good/bad guys ID key

4.4 line by line paradigm

4.5 face mapping tools

4.6 the classic archetype

4.7 casting examples

4.8 writers and archetype

4.9 subtypes & essences

4.10 act as VS. act like

4.11 Jung archetypal map

4.12 the MBDI vs. MBTI

5.1 script consulting

5.2 assist flow chart

5.3 production benefits

5.4 database tracking

5.5 client confidential

5.6 forecast fallibility

5.7 how the others fail

5.8 weekend mentality

5.9 neuromarketing news

5.10 neuromarket article

5.11 film neuromarketing

5.12 older methodologies

6.1 old studio systems

6.2 studio system assists

6.3 agent & mgr. benefits

6.4 improvements 4 talent

6.5 attending to imagery

6.6 the best attributes

6.7 talent research

6.8 star power ratings

6.9 star client results

6.10 secret sex chemistry

6.11 archetype inventory

6.12 sub-type inventory

7.1 CFI contact info

7.2 similar companies

7.3 actor archetype lists

7.4 bibliography to study

7.5 urls continued study

7.6 ROIs for 1999 & 2000

7.7 ROIs for 2001 & 2002

7.8 ROIs for 2003 & 2004

7.9 ROIs for 2005 & 2006

7.10 ROIs for 2007 & 2008

7.11 ROIs for 2009 - 2010

7.12 ROIs for 2011 - 2012


page 2.1


A Short Introduction to CFI Assurance LLC 



Cinematic Forecasting and Investment Assurance LLC (CFI™) is an motion picture consulting firm. 
We consult with clients on film development, green-lighting, script breakdown, and screenplay profit forecasting.  
 
CFI™ confers with motion picture or television executives and media talent on the prospects for profitability on their up-coming projects, and on a screenplay's potential for generating audiences in North American and overseas box-offices.  CFI™ excels at forecasting audience attraction to films proposed for preproduction or distribution.  Using proprietary software with statistical data from CFIs™ thriving database, component formulation algorithms, and regressive analysis, CFI™ can forecast the box-office profit potential of any screenplay before production in North America, along with its level of global income.  
 
CFI™ software identifies thousands of component formulation patterns that are hidden inside scripted or outlined productions.  These formulation patterns contain unique statistical values that define the project's  word-of-mouth strengths or weaknesses.  By tabulating these values, we can forecast a screenplay's profitability b
efore money or preproduction time is invested.  We advise on which screenplays will succeed or fail.  Then he advises on corrections or additions that are needed to attract larger audiences and that will guarantee more profitability.  This gives film executives a new opportunity for truly selecting the most profitable and successful projects BEFORE they are green-lighted.
 
CFI™ accurately forecasts the profitability of over 1800 North American wide-release films in fully documented beta-testing conducted beginning in 2000 through 2008.  During that time, we have successfully achieved accurate forecasts on over 91% of all the films released to the public in 650 or more theaters, predicting which films will clear a profit and which films will not, even while screenplays were still in their development stages.  
 

CFI™ operates under this reasoning;

To be able to improve the positive quality or quantity of a product, one must first be able to identify and measure the positive components of all products.  And to be able to exclude all the negative components inside a product, one must first be able to identify and measure the negative properties inside all products.  
 
If you cannot identify and measure the positive components, you cannot correctly add any more to the product.  And if you cannot identify and measure the negative components, you cannot avoid being one of its victims.  
 
Identifying all the positive and all the negative components in feature filmmaking before they decimate your film's profitability or disappoint audiences is what we do more timely and accurately than any one else in Hollywood.  (Our profit forecasts are so accurate, we actually guarantee the forecasts.)

CFI Assurance™ offers preproduction, green-lighting analysis, screenplay profit forecasting, and several other data mining or consulting services to clients in both motion picture, television, and other visual entertainments. 

For a complimentary private demonstration of our project development and script forecasting technology, contact us. 

(contact information is on page 7.1)  
    

ANALYSIS of CFI MOTION PICTURE RETURN ON INVESTMENTS (ROI)

We created financial portfolios for every motion picture forecast by CFI as profitable in the last nine years. 

1. Gross profits were calculated for combined domestic and foreign films that scored profitable on the CFI Motion Picture Index (MPI).  These were films that contained positive and negative component  formulations, but had fewer negative valuations than positive valuations, and therefore were forecast as profitable before they were released.

2. Domestic box-office revenues were calculated using an average multiplier of 0.55%.  Foreign box-office revenues were calculated using an average multiplier of 0.43%.  (These are average revenue percentages reported by studios.)

3. Another 45% of that revenue was subtracted for studio distribution expenses to arrive at a combined U.S. and International income.  (30% is the average studio level distribution expense deduction, but for independent filmmakers the expense averages up to 45%.  To see the ROIs for independent films using the higher distribution expense percentages, please see CFI web pages 7.7 through 7.11)

4. Once the production budget was determined, we then increased that amount by 100% to account for the advertising, prints and marketing expenses.  The MPAA reports the percentage for the average marketing expenditure at 60% of the picture's budget.  (60% is also a studio level expense.  For independent filmmakers, the expense averages up to 100%.  To see the ROIs for independent films using that higher marketing and advertising expense percentage, please see CFI web pages 7.7 through 7.11)

(For budget amounts we used production numbers provided by Variety, The Hollywood Reporter, Boxofficemojo.com, IMDB.com, the LA Times, and the Wall Street Journal. We used a budget amount if at least two of the reported sources were in agreement.)

 
5. The total of the budget costs and the marketing/advertising expenses were subtracted from the combined U.S. and foreign income.  The remainder was the gross profit.

6. The gross profit was divided by the budget costs and the marketing/advertising expenses to express the ROI - the percentage of the films' financial return on the investment.


Cinematic Forecasts and Investor Assurance Return On Investment (ROI)

The ROI for each year of the last 10 years were as follows; 

If you had invested in the scripts CFI selected as profitable BEFORE they were produced (including the average ancillary revenue estimates with the domestic & foreign box-office actuals) ... while using the extra-large expense margins we subtracted from the income, the ROIs per year would still be as follows;
 

2000: +23.14%
2001: +26.21%
2002: +17.90%
2003: +31.11%
2004: +31.17%
2005: +58.41%
2006: +12.56%
2007: +15.56%
2008: +21.41%
2009: +74.27%
2010: +58.18%
The eleven year average return on investment for CFI audited scripts is 
+ 33.6%

 
If you had invested in the scripts CFI audited before distribution that had NO component formulation errors, (including the average ancillary revenue estimates with the domestic & foreign box-office actuals) while subtracting the extra-large expense margins, the ROIs per year would have been as follows;

2000: +40.43%
2001: +58.12%
2002: +22.91%
2003: +29.20%
2004:    -1.94%
2005: +17.26%
2006: +16.97%
2007: +41.08%
2008: +60.10%
2009: +172.35%
2010: +52.97%

The eleven year return on investment for ERROR FREE scripts audited by CFI is 
+ 46.3%

(Lower returns in 2004 to 2006 were due to consumer's investments in DVDs, rather than attending theaters for secondary ticket sales.  Financial returns for 'AVATAR' in 2010 were not included, and thereby do not skew the financial percentages.)

The 2011 numbers are not given, since a percentage of the profitable productions are still in theatrical release ... and more are yet to be released in foreign marketplaces.

The numbers directly above are based solely on theatrical revenues include estimates for DVD, video rental, and TV ancillary market revenues. These are un-leveraged. Leveraging through merchandising, ESTs, and other product tie-ins that usually increase returns by a factor of 2 or more.  

Gross profits for ancillary markets (DVD, TV, Cable, etc.) are calculated at a very small average of 75% of gross domestic box-office receipts (33% for DVD rentals, 30% for DVD sales and 12% for Broadcast or Cable sales).  We deducted another 45% from gross ancillary profits for the average estimated distribution and marketing expenses for DVDs and ESTs with no deduction for Broadcast or Cable Sales. (Studio level expenses are less but for independent films the deduction for ancillary distribution can run as high as 45% on average.)

THE FULL FINANCIAL REPORTS THAT CALCULATED THE TABULATIONS WITH HIGHER EXPENSES FOR INDEPENDENT FILMMAKERS ARE AVAILABLE ON THIS WEBSITE ON PAGE  7.7   ROIs for 2001 - 2002,  PAGE 7.8   ROIs for 2003 - 2004,  PAGE 7.9  ROIs for 2005 - 2006,  PAGE 7.10   ROIs for 2007 - 2008, and PAGE 7.11   ROIs for 2009 - 2010.
This is page
2.1  Intro to CFI
 
To continue on to
2.2 Twenty-One Questions - click here
 
 
                           
CFI website map for 2011

1.1 FUTURE FILM Forecasts
2.1 Introduction to CFI
3.1 Unseen Components
4.1 Archetype vs. Stereo
5.1 Screenplay Consulting
6.1 Old Studio System
7.1 CFI CONTACT INFO
1.2 LAST WEEKEND Forecast
2.2 Twenty-One Questions
3.2 Simple Components
4.2 Modern Archetypes
5.2 Assist Flow Chart
6.2 Studio System Assists
7.2 Similar Companies
1.3 2011 Profit & Loss Chart
2.3 Beta-Testing Complete
3.3 Complex Components
4.3 Good/Bad Guys ID Keys
5.3 Production Benefits
6.3 Agent & Mgr. Benefits
7.3 Actor Archetype Lists
1.4 2010 Profit & Loss Chart
2.4 Products & Services
3.4 Resolution Components
4.4 Line by Line Paradigm
5.4 Database Tracking
6.4 Improvements 4 Talent
7.4 Bibliography for Study 
1.5 2009 Profit & Loss Chart
2.5 Application & Benefit
3.5 Horrific Components
4.5 Face Mapping Tools
5.5 Client Confidential
6.5 Attending to Imagery
7.5 URLs to Continue Study
1.6 2008 Profit & Loss Chart
2.6 Comparing Methodology
3.6 The Two Behaviors
4.6 The Classic Archetypes
5.6 Forecast Fallibility
6.6 The Best Attributes
7.6 ROIs for 1999 - 2000
1.7 2007 Profit & Loss Chart
2.7 Client Applications
3.7 Audience Psychology
4.7 Casting Examples
5.7 How the Others Fail
6.7 Talent Research
7.7 ROIs for 2001 - 2002
1.8 2006 Profit & Loss Chart
2.8 Four Screen Dynamics
3.8 Suspending Disbelief
4.8 Writers and Archetype
5.8 Weekend Mentality
6.8 Star Power Ratings
7.8 ROIs for 2003 - 2004
1.9 2005 Profit & Loss Chart
2.9 Playability Errors
3.9 Four Media Approach
4.9 Subtypes & Essences
5.9 Neuromarketing News
6.9 Star Client Results
7.9 ROIs for 2005 - 2006
1.10 2004 - 2002 P & L Chart
2.10 Quadrant Solutions
3.10 Reading Their Faces
4.10 Act As vs. Act Like
5.10 Neuromarket Article
6.10 Secret Sex Chemistry
7.10 ROIs for 2007 - 2008
1.11 2001 - 1999 P & L Chart
2.11 Forecasting Accuracy
3.11 Observing Audiences
4.11 Jung Archetypal Map
5.11 Film Neuromarketing
6.11 Archetype Inventory
7.11 ROIs for 2009 - 2010
1.12 CFI CONTACT INFO
2.12 Edge on Competition
3.12 Observing Emotions
4.12 The MBDI vs. MBTI
5.12 Older Methodologies
6.12 Sub-Type Inventory
7.12 ROIs for 2011 - 2012